No description available.

The National cinema of Wales is a contested site of representation and identity, which has struggled to overcome systemic and historic obstacles to scholarship, as well as to funding, production, exhibition and distribution of its products, related organizations, agents and services. This study considers Welsh filmic product (produced from 1963-2007), produced by independent producers for prominent broadcasting entities, including Channel Four Films, BBC Wales, S4C, or HTV/ITV Wales; a review of relevant literature regarding Welsh national cinema by Berry, Blandford, Ffrancon and others; the historical context of the Welsh film industry, was followed by an assignment of new aesthetic and industrial categories, including Welsh Coming-of-age genre films, Welsh Magical Realism, Welsh Grotesque cinema, the Welsh Chapel 'Gothic' in cinema, 'Outsider' fllmmakers in Wales, and Welsh fllmmakers in exile; the use of Welsh myths and legends in films, and how this contributes to a national identity. Consequently this study locates Welsh national cinema in a critical milieu inflected by feminist, Queer, post-colonial and national cinema analysis approaches.

The thesis comprises a screen play for a one hour film and dissertation examining artistic issues in the intersection of biography and history in fictional films. The aim was firstly to broaden the definition of what is involved in filming historical fictions, in terms of how both characters and historical settings are conceived. Secondly the work explores the artifice of historical representation on the screen through case studies of films which are experiments in filming history and biography. Thirdly both the screenplay and the dissertation consider the implication of fictions which deal with minor historical figures. Primarily the thesis elucidates conceptions of historical artiface in the cinema advanced by films themselves, films which had either a paradigmatic or an idiosyncratic role in the development of certain artistic practices. Films, like works of written fiction, have in many respects invented new meanings for, and associations with, the past. The thesis concludes that the different conceptions of historical artiface embodied in fictional films have implications for our sense of the past. / Master of Arts (Hons)

published_or_final_version / Comparative Literature / Master / Master of Philosophy

Thesis (M.A. History)--University of Waikato, 2008. / Title from PDF cover (viewed August 26, 2008) Includes bibliographical references (p. 105-114)

published_or_final_version / abstract / Chinese / Master / Master of Philosophy

No description available.

This thesis investigates fifty years of Uruguayan cinema in order to revisit the relationship between cinema and nation, at a time in which transnational flows are putting into question the concept of nation and, more precisely, that of national cinema. This investigation also contributes to current discussions on the changing nature of cinema, generated by the fast adoption of digital technology and the imminent disappearance of film stock. Through the case of Uruguay, I explore the construction of national identity not only through the text, but also through the – filmic, digital and/or analogue – materiality of film. This approach incorporates aspects which are not usually studied together to contribute to the analysis of Uruguayan cinema in a manner potentially applicable to other nations with similar characteristics; that is to say, nations without an established film heritage and filmmaking tradition. Informed by writings on film, cultural, historical and archival studies, this thesis approaches films as ‘hybrid' rather than ‘pure' or ‘authentic' texts and media. I argue that both the text and materiality of films absorb, influence and reflect the dynamic processes involved in the construction of national identity. Rather than seeking for authenticity and homogeneity, this thesis stresses the necessity to focus on discontinuity and diversity. Therefore, it analyses lost and under-researched short, documentary, animation and institutional films and videos, alongside feature fiction films. First, I present a theoretical discussion on the relationship between nation and cinema, the concept of hybridity in film studies, and the importance of technology for production, preservation and access. This is followed by four chronological chapters in which the hybrid text and materiality of films are analysed in contexts of social and political upheaval; dictatorship, resistance and exile; transition; and neo-liberalism and globalisation. This thesis demonstrates that the ties between cinema and nation have not necessarily loosened in the global and digital age, and still deserve critical attention.

Abstract not available

Thesis (M.A.)--Boise State University, 2009. / Includes abstract. Includes bibliographical references (leaves 75-78).