Thesis (Ph. D.)--UCLA, 2009. / Vita. Description based on print version record. Includes bibliographical references (leaves 210-224).

Thesis (Ph. D.)--West Virginia University, 2000. / Title from document title page. Document formatted into pages; contains v, 277 p. Includes abstract. Includes bibliographical references (p. 268-277).

Extract of the author's Thesis (doctoral)--Universidad de Zaragoza, 2002. / Includes bibliographical references (p. [413]-418).

This dissertation discusses Anna Banti's Artemisia, Roberto Rossellini's Paisà, Ingeborg Bachmann short story “Simultan,” Helma Sanders-Brahms' Deutschland, bleiche Mutter and Alain Resnais' Hiroshima mon amour. The novels and films addressed all create a condition of epistemological crisis; they present the spectator or reader with a landscape of rubble, both literal and figurative, in which all existing structures have been erased. There are no stable epistemological certainties left, only provisional configurations that are always threatening to collapse once more into the debris, history is defined by slippage and displacement. Bachmann and Resnais, in particular, explore the trace and echo of “history,” and the rupture of temporal stability; for them, history shares the structure of language, ruled by metonymy and slippage, always exceeding any stable framework. These self-referentially split and fractured narratives present us with a universe in which everything is in flux. If “history” is “broken” by definition, so too are subjectivity, gender and desire: rupture and splitting are their constitutive elements. In Rossellini's films, especially, heterosexual masculinity has lost any claim to “authenticity” and has become purely performative, a phantasm of opera, theater, film, even puppet shows. The male subject is constituted both as spectacle and obsessive spectator, with voyeurism and scopophlia the only possible forms of desire. The lacuna of desire left by the collapse of the heterosexual male subject is partly filled by the scopophilic appetites of the cinematic spectator: we see ourselves, and our own deviant desire, constantly represented on screen.

Thesis (M.A.)--University of Iowa, 1992. / Typescript (photocopy). eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 112-117).

Thesis (M.A.)--University of Iowa, 1992. / Typescript (photocopy). Includes bibliographical references (leaves 112-117).

Thesis (Ph.D.) - University of Glasgow, 2003. / Ph.D. thesis submitted to the Department of English Literature and Department of Film and Television Studies, University of Glasgow, 2003. Includes bibliographical references. Print version also available.

Este trabalho se situa no âmbito dos estudos inteartes e tem como objeto um estudo comparativo entre as obras O túnel (1948), do escritor argentino Erneto Sábato e o filme homônimo do diretor portenho León Klimovsky (1952). O objetivo desta pesquisa é analisar comparativamente o texto literário e o texto fílmico, a fim de mostrar as estratégias utilizadas pelo diretor para a construção da narrativa fílmica, de modo a trazer ao espectador uma trama existencialista, que no livro se apresenta como uma narração em primeira pessoa e que na estrutura do filme é contada pelos olhos externos de uma câmera e intermediada pela leitura de personagens que não existem na trama de Sábato. Para tanto serão trazidos para a discussão autores que discutem a adaptação de textos literários para o cinema, como Linda Hutcheon, Robert Stam, André Bazin e Sánchez Noriega. Para analisar o conteúdo de temática existencialista, que explicitamente faz parte das influências presentes em ambas as obras recorremos às ideias de Jean Paul Sartre, mais especificamente aos seus textos O existencialismo é um humanismo e Esboço para uma teoria das emoções. Por fim, tendo em conta que Ernesto Sábato foi, além de autor, um reconhecido crítico literário, fazemos uso de alguns de seus textos, como El escritor y sus fantasmas e Heterodoxia, que se voltam para a discussão da sua própria produção estética e para questões que atingem a produção literária de maneira geral. / This work is within the scope of interarts studies and has as its object a comparative study between the works The Tunnel (1948), by the Argentine writer Erneto Sábato and the film of the same name by the Buenos Aires director León Klimovsky (1952). This research aims to comparative analysis the literary and the filmic text, in order to show the strategies used by the director for the construction of the film narrative, and by so doing bring to the spectator an existentialist plot, which in the book presents itself as a narration in first person and in the structure of the film is presented through the external eye of a camera and intermediated by the readings carried out by characters that do not exist in the plot of Sábato. For that, authors who discuss the adaptation of literary texts to the cinema, such as Linda Hutcheon, Robert Stam, André Bazin and Sánchez Noriega, will be brought to the discussion. In order to analyze the existentialist theme content, which explicitly forms part of the influences present in both works, we turn to Jean Paul Sartre's ideas, more specifically to his texts Existentialism is a humanism and Sketch for a theory of emotions. Finally, considering that Ernesto Sábato was, besides an author, a recognized literary critic, we make use of some of his texts, such as El escritor y sus fantasmas and Heterodoxia, which turn to the discussion of his own aesthetic production and to Issues that affect literary production in general.

This dissertation studies the influence of film on the works and careers of Guillermo Cabrera Infante (Cuba, 1929- ) and Manuel Puig (Argentina, 1932- ). Emphasis is put on their critical views, fiction, and filmscripts. Generic, thematic, and technical questions concerning film and their works are discussed, without, however, an attempt at exhaustiveness. After an introduction in Chapter 1, the next chapter addresses the relationship of Cabrera to the film, a topic developed more fully in Chapter 3. As the critic of Un oficio del Siglo 20 (1973) and Arcadia todas las noches (1978), he is placed in the "auteurist" tradition, a view which he later modified. Chapter 3 further discusses his concept of film. The next two chapters concern his critical collections. Mythic, generic, and aesthetic areas are treated. The basis for a continuity with his major fiction is demonstrated. In Chapter 6, Vanishing Point (1969-70) is studied from generic and mythic perspectives. The filmscript is used in preference to the film, which severely revised it. The two major fictional works of Cabrera, Tres tristes tigres (1965), and La Habana para un Infante Difunto (1979), are analyzed in Chapters 7 and 8 with reference to filmic allusions, connections to his criticism, and technique. Generic continuity is demonstrated in both works, while Chapter 8 also concerns the mechanisms of parody and of "blasphemy" against the "temple" of film. The next chapter is a comparative overview of Puig and Cabrera. Common (and divergent) directorial and generic interests are discussed, as well as the influence of certain directors on the work of Puig. Molina, from El beso de la mujer arana (1976), is placed within a context of gay movie tastes. Chapter 10 is partially devoted to two filmscripts by Puig, La cara del villano and Recuerdo de Tijuana (originally published in 1980), the first as an adaptation of a literary work and the second as an example of film noir. The chapter also deals with Kiss of the Spider Woman (1985), an adaptation of the novel by Puig. Chapter 11 briefly concludes the study.

This thesis covers the entire range of British and American film adaptations of Emily Brontë’s novel, Wuthering Heights, as no cumulative study on this larger selection has been done thus far. However this will not be the only objective of this thesis, as I create a link between the author’s life to her novel, between the novel to the early criticism, and the criticism to later adaptations, forming a chain of transformation down the ages, to the original novel. By linking the adaptations to the earlier reception of the novel, a change of social interaction will be uncovered as one of its reasons for surviving. These examples of adaptation will be shown to be just as relevant to popular culture history as its original inspiration. This is the result of an unfolding movement of change and mutation, where each adaptation pushes to connect with the past and future. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2014. / FAU Electronic Theses and Dissertations Collection