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Caspian Christoph is a drunken failure as an explorer. After an extensive night of hard drinking on a colony planet of Venus he finds a map that describes a direct route to the valuable trade planet of Paladee. The direct route would allow for flights to be four times shorter thus enabling quicker exportations from the planet. Initially, he is reject from his first two chosen sponsors, Venus (his home planet) and Earth, but Mars agrees to fund his exploration. His first map’s course is perfect, but there is one problem, the planet they landed on is not Paladee. When they first arrive on the new planet Caspian and his supporters, Marius, his best friend, Hoslet, his navigator and former lover and Roddick, a Martian Imperial Commander who once served under Caspian’s father, discover a species no Solarians (humans) have ever met. The aliens are a genderless race led by a giver named Vivron. One their first encounter Vivron and Caspian initiate a trade of mutual benefit to each’s race. Soon Caspian and the "Paladians" begin to harvest a relationship of mutual benefit, but there is one unfortunate side-effect, with them the Solarians have also brought disease, one that destroys the lives of many of the Paladians. On a trip back home Caspian sees a vision of his father who chides him for the life he is living. Self-realization kicks in and Caspian quits his drinking in an attempt to better his life and his family's name. Sent on their second journey to the planet, Pala-2, Caspian blames the mysterious disappearance of Marius on Vivron and leads a team of Martian Dash Troopers who overrun the Paladians and force them into slavery. The diseases coupled with the slave labor they must work destroys the lives of many of the Paladians. Soon, however the other planets, Venus and Earth want a piece of the exportation minerals from Pala-2 and they mount joint space attack on the Martian defenses protecting the planet. In the battle that ensues in space, on land and back in the Solarian system allegiances are fostered, bonds are broken, and lives are lost. Caspian attempts to rekindle his relationship with Hoslet only to have her turn on him for the betterment of Earth. Roddick saves Caspian’s life, something he could not do for Caspian’s father many years ago. But, the most painful incident comes at the end when Caspian and Roddick discover a crashed ship that landed on the hiding place of the Paladians, killing many of those who had survived the disease in the process. The realization of the destruction his discovery has caused forces Caspian’s character to come full circle and once again he takes up drinking as a dilute the painful heartaches in his life.

In the study of Narratology, theorists focus on not only the narrative but also the narrator. This is the Who telling the What. While there are many philosophical views regarding authorial intent, and differing opinions as to "who" the narrator is and the many forms the narrator can take, filmed narrative complicates matters even further. For the purpose of this project I will seek to place a new definition on the latent yet prominent role of the true narrator of filmed narratives--money. Due to the complex nature of the film medium, I recognize that film criticism and the discussion of money can be applied to the many and varied aspects of film making, including but not limited to film as art, film as commodity, film genres, film styles, etc. However, I will be restricting my discussions of the role of money in film making at its most simplistic levels: (i) The fact that money prescribes the very presence of an image on film, and (ii) How money influences the narrative represented by those images.

Thesis (MMus)--Stellenbosch University, 2014. / ENGLISH ABSTRACT: This thesis investigates the impact that a musical score can have on the visual component as well as the final product of a film. This is achieved by the use of a systematic analytical approach that covers the most important aspects of the visual and musical elements within Vertigo. The film is regarded as one of cinema’s greatest examples of excellence. The many levels of meaning, inspired use of cinematographic techniques, meticulously crafted narrative and dynamic score combine to create a film unlike any other. The analysis of Vertigo is achieved by selecting specific scenes that contain important visual and musical elements essential to the narrative. The visual and musical aspects of each scene are analysed separately before the relationship between them is studied. Following this, the results of the analysis are summarised within the larger context of the narrative and conclusions are drawn regarding the music’s influence on the visual aspects of the film as well as its role in the ultimate narrative success of Vertigo. / AFRIKAANSE OPSOMMING: Hierdie verhandeling kwantifiseer die impak wat ‘n partituur kan uitoefen op die visuele aspekte en eindproduk van ‘n film. Dit word bereik deur die gebruik van ‘n sistematiese analitiese benadering wat die hoofaspekte van die visuele en musikale elemente in Vertigo ondersoek. Vertigo word beskou as een van die filmkuns se beste voorbeelde van uitnemendheid. Die komplekse betekenisvlakke, die geïnspireerde gebruik vakinematografiese tegnieke, die uitmuntende storielyn en die dinamiese partituur kombineer om ‘n unieke film te skep. In die ontleding van spesiale tonele met visuele en musikale elemente wat ‘n noodsaaklike bydrae lewer tot die sukses van die storielyn, kan Vertigo analiseer word. Die visuele en musikale aspekte van elke toneel word eers individueel bestudeer voordat die verhouding tussen die elemente analiseer word. Daarna word die resultate saamgevat binne die raamwerk van die storielyn en kan daar tot ‘n gevolgtrekking gekom word oor musiek se invloed op die visuele aspekte van die film en die rol wat musiek gespeel het in die beslissende sukses van Vertigo.

M.A (Audiovisual Communication) / In 2008 a film about a Gothic Romance between a teenage girl and a vampire became a pop culture phenomenon (Edwards, 2009:26). The ‘chick flick’ or ‘women’s film’ genre was suddenly in the spotlight at the box office as droves of female spectators of all ages were entranced by the neo-Gothic fantasy-Romance entitled Twilight (2008) (Em & Lo, 2009; Parekh, 2009:16; Puente, 2009:1; Ryan, 2008). More than 75% of the audience members were female with 55% being under 25 years (Ryan, 2008). Despite Twilight’s (2008) soaring status as a pop-culture phenomenon, much debate has ensued emphasizing the problematic representations and thematic elements that surround the gender roles and relations depicted in the film. As Lezra (2009:1) argues: “The cultural and social values…are so regressive that they would make people in Victorian London stand up and angrily defend the rights of women and minorities”. Twilight (2008) has been criticized for perpetuating traditional, oppressive, patriarchal values and glorifying a female character who has been termed “a feminist’s nightmare” (Czech, 2009) and “a 1950s-robot housewife” (Gassley, 2009). In 2009 the second instalment of the Twilight Saga: New Moon (2009) was released which had far more success than Twilight (2008) at the box office, as well as attracting a slightly older demographic (Gray, 2009a:1; Gray 2009b:1; Puente, 2009:1; Seltzer, 2009:1). The thematic conventions surrounding heterosexual relationships depicted in New Moon (2009) make the film particularly interesting. The film shifts focus from the relationship between Bella and her vampire love-interest Edward, as seen in Twilight (2008), to the relationship between Bella and her best friend Jacob, a werewolf. This relationship has been praised as the ‘ideal’ heterosexual relationship and Jacob, the ‘ideal’ partner: “Edward is not the ideal boyfriend-lover. In fact, Jacob is…Edward will only lead to black eyes, rape, torture, and possibly even death” (Housel, 2009a:188). Thus the representation of heterosexual relationships and gender roles within those relationships is brought into question in New Moon (2009). What makes the situation more complex is that despite these criticisms, so many women of multiple age groups are fans of the films. While there are many elements of the film which may contribute to this mass interest, such as fascination with the ‘undead’, or film being a temporary escape for spectators in times of economic instability and uncertainty (Olson, 1995:16), the appeal of this neo-gothic romance for women in particular needs to be examined more closely: “What did it mean that millions iv of girls were fantasizing about men who could barely repress the desire to kill them? In 2008?” (Mann, 2009:132). By integrating genre analysis and audience ethnography, this study explores the representations of gender roles and heterosexual romance in the films Twilight (2008) and New Moon (2009) and the perception of these representations by selected, female South African viewers. It further aims to situate the films within the sociocultural context in which it emerged and thus uses postfeminism as a theoretical framework.

by Grace Leung Lai-kuen. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1993. / Includes bibliographical references (leaves 120-124). / Preface --- p.ii / Abstract --- p.iii / Contents --- p.iv / Chapter Chapter 1. --- Introduction --- p.1 / Chapter Chapter 2. --- Theoretical Review and Method of Study --- p.5 / Chapter i) --- An Anomaly to Media Imperialism / Chapter ii) --- Inadequacies of Non-Marxists Theories / Chapter iii) --- Analytical Framework / Chapter iv) --- Research Questions and Research Design / Chapter Chapter 3. --- Hong Kong as a Regional Movie Production & Export Centre -- a Statistical Review --- p.19 / Chapter i) --- Hong Kong as a Movie Production Centre / Chapter ii) --- Hong Kong as a Movie Export Centre / Chapter Chapter 4. --- Evolution of the Movie Industry in Hong Kong -- a socio-historical analysis --- p.44 / Chapter i) --- An Overview / Chapter ii) --- Stages of Development / Chapter 1) --- Initial Period / Chapter 2) --- Nascent Period / Chapter 3) --- Growing Period / Chapter 4) --- Developing Period / Chapter 5) --- Quiescent Period / Chapter 6) --- Reconstruction Period / Chapter 7) --- Prosperity Period / Chapter 8) --- Declining Period / Chapter 9) --- Revival Period / Chapter Chapter 5. --- In Search of an Explanatory Framework --- p.77 / Chapter Chapter 6. --- Conclusion --- p.111 / Appendices --- p.118 / Reference --- p.120

Wu Huaiting. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2002. / Includes bibliographical references (leaves 122-130). / Abstracts in English and Chinese. / Chapter Chapter 1 --- Introduction and Analytical Framework --- p.1 / Chapter Chapter 2 --- Local Agents and Global Alliance --- p.28 / Chapter Chapter 3 --- Particularization and Universalization --- p.51 / Chapter Chapter 4 --- "Distribution, Marketing and Exhibition" --- p.75 / Chapter Chapter 5 --- The Globalization of a Local Culture --- p.94 / "Appendix 1 Awards for Crouching Tiger, Hidden Dragon" --- p.104 / "Appendix 2 Credits for Crouching Tiger, Hidden Dragon" --- p.106 / Appendix 3 Ang Lee's Features --- p.108 / Appendix 4 Source List for Database --- p.110 / "Appendix 5 The Story of Crouching Tiger, Hidden Dragon" --- p.113 / "Appendix 6 Release dates for Crouching Tiger, Hidden Dragon" --- p.119 / Bibliography --- p.122

by Chu Lui. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1997. / Includes bibliographical references (leaves 351-354). / ABSTRACT --- p.ii-iv / ACKNOWLEDGEMENT --- p.v / LIST OF FIGURES --- p.vi-vii / LIST OF ILLUSTRATIONS --- p.viii / CHAPTERS / Chapter PART I --- Introduction --- p.1 / Chapter PART II --- Theoretical formulation on exhibitors' structuration of movie-going activity --- p.30 / Chapter 2 --- Approaches from existing film studies --- p.31 / Chapter 3 --- Structuration: social practices and social structure --- p.49 / Chapter 4 --- An analytical application of the structuration theory in Cinema --- p.73 / Chapter 5 --- An analytical application of structuarion theory in exhibitors' restructuration of movie-going activity --- p.91 / Chapter PART III --- The reflector's self-reflection --- p.105 / Chapter 6 --- "My general knowledge of Chinese Cinema's development in ""reform""" --- p.109 / Chapter 7 --- Procedures of data collection and analysis PART IV Redefining what cinema is --- p.127 / Chapter PART IV --- Redefing what cinema is --- p.149 / Chapter 8 --- Confusion over a simple matter --- p.150 / Chapter 9 --- Delineating a new landscape of the cinema --- p.165 / Chapter 10 --- "In name, in language, in ""affairs""" --- p.195 / Chapter PART V --- Redefining what movie-viewing is --- p.224 / Chapter 11 --- A comparison on two kinds of movie-viewing --- p.225 / Chapter 12 --- Reconstructing movie-viewing space --- p.249 / Chapter 13 --- Reconstructing movie-viewing time --- p.281 / Chapter PART VI --- Conclusions: on exhibitors' shadow land --- p.303 / REFERENCES --- p.351