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This essay will explore the salient performance characteristics of three selected works for solo trombone by major composers of popular media. The works selected for this study are Colloquy for Solo Trombone and Symphonic Band by William Goldstein, Concerto for Trombone in C Major by Nino Rota, and Arrows of Time by Richard Peaslee. These composers have written extensively for television, motion pictures, theater, and dance. In addition to their significant popular media repertoire, these three composers have made a significant contribution to the solo trombonist's repertoire. Although these works have been performed, recorded, produced, and reviewed, they have not been studied together as a group, nor have they been established in the general repertoire for solo trombone.

The paper examines how the slasher genre has developed over the years. The main point of this examination focus on differences in the stylistic appearance of the killer, the development of the “final girl”, the film sole survivor and if there are some narrative changes in the plot structure. The films selected for analysis are scattered over the years, including films like Halloween (Carpenter, 1978), A Nightmare on Elm Street (Craven, 1984) and Scream (Craven, 1996). The main changes that have occurred over the years according to this examination tells us that the stylistic features to hide the killer from the spectators isn’t that important and prominent today as it was in the late 70’s and early 80’s, especially the lightning feature, that characterized Michael Myers in Halloween. Even the characteristic point-of-view shots, who marks the killers presence, is as gone. The biggest development for the final girl is that she doesn’t need to be a virgin anymore in order to defeat the killer, who was the case early on. The narrative structure haven’t changed significantly over the years, but the characteristic opening scene which used to contain a sequence that takes place several years earlier where the killer experiencing a trauma of some kind is gone.

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L’identité spectatorielle d’un étudiant est caractérisée par une émancipation dans ses pratiques cinématographiques, mais aussi par les traces, les cadres, qui ont été dessinés durant la socialisation primaire. L’identité de genre d’un étudiant est en constante négociation entre l’adéquation aux normes et la transgression. En cherchant à rendre visible la porosité de ces deux facettes de l’identité sociale, cette recherche propose une enquête qualitative qui laisse la parole aux jeunes hommes. À travers la mise en lumière de leurs goûts cinématographiques, leur panthéon personnel, et de leurs rapports à la masculinité, il sera possible de considérer que parler de films, c’est aussi performer le genre. / As a spectator, a student learns to own his cultural activities. He is also still determined by the first instances of socialization. As a gendered person, a student is between transgression and acceptation of the norms. This research aims to highlight that gender identity and spectatorship identity are both included in the social identity, but also that they are in constant interaction. Young men’s speeches are analyzed, with focuses on their movie tastes, their private pantheon, and their relationships with masculinity in order to show that talking about movies is also performing gender.

Cult media is often an area of media studies that is difficult to define. Cult media branches through numerous time periods, genres, and fandom patterns. Cult trends are also constantly evolving over time, changing from word-of-mouth and point-of-sale advertising to social networks and Internet culture. But have the rudimentary basics of how media cults develop and spread their message changed along with the progressing marketing presentation? This dissertation explores the definition of media cults, their history, and marketing styles over time, ultimately exploring the tools utilized to market cult media and examine how these tools are now synthetically applied to many media products in hopes of garnering a passionate cult audience.

La thèse porte sur le cinéma d’amateur et, plus particulièrement, sur la pratique des home movies en France, à savoir la réalisation et la réception en famille de films d’amateur. En étudiant la période qui s’étend de 1960 à aujourd’hui, nous nous sommes intéressés à la manière dont la pratique a évolué à la fois sur le plan technique et technologique, grâce à l’introduction de trois formats (le Super 8, le VHS et le numérique), et sur le plan social et culturel, à travers la prise en compte de différents types de modèles familiaux (de la famille nucléaire aux familles recomposées en passant par les familles adoptantes). À partir de ces observations, nous avons élaboré une esthétique des home movies entendue comme esthétique du lien. Cette étude croise deux approches : d’une part, la sémio-pragmatique avec la notion d’espace de communication élaborée par Roger Odin et, d’autre part, l’interactionnisme inspiré des travaux d’Erving Goffman. Ainsi, nous avons construit deux espaces de communication afin de systématiser les interactions, les discours, les relations énonciatives et les affects qui se développent respectivement durant le filmage et le visionnage. Nous avons également introduit deux modes principaux censés structurer les processus de production de sens qui seraient à l’œuvre dans les deux étapes de la pratique et nous les avons appelés respectivement mode ludique (le filmage serait donc mené comme un jeu) et mode taxonomique (le visionnage s’apparenterait à une opération de classement). Pour cela, nous nous sommes également appuyés sur des entretiens avec les membres de six familles françaises ayant réalisé ou réalisant encore des home movies. Nous avons formulé l’hypothèse que la pratique des home movies permettrait aux individus impliqués dans la production et/ou dans la réception de ces films de prendre conscience des dynamiques familiales et de leur rôle au sein du groupe. Nous avons nommé méta-famille le potentiel autoréflexif de la pratique des home movies. / My research concerns the evolution in France of home movie filming from the 1960s (Super 8 films) to the present (digital films) and the changes that have affected the family unit during this period. It brings together a theoretical dimension, the symbolic implications of the practice, and an empirical one, the findings emerging from an exploratory case study of six French families shooting home movies. Based on the psychological, social and cultural study of these families, the multidisciplinary approach of this piece, combined with a qualitative methodology (in the form of several in-depth interviews with the members of those families), is meant to explore how family images and conversations help individuals to think about themselves and their roles within their groups. I conceived my field survey as a form of role-play in which the subjects were supposed to show me their home movies and talk about them: I interviewed family members separately (for instance, the parents together and then their children) about the same home movies in order to find out how people give several interpretations of the same representation of a family event. I will argue that the making of home movies contributes to a family’s sense of self-awareness by introducing a concept that I have named the meta-family. Thanks to the interactions in shooting home movies and the different types of verbalisation, the family is allowed to think about itself. The meta-family is not the real family, shooting or watching images, but represents the conscious and unconscious workings of the family members produced with, and through, the images. The evolution of the technical age and technologies in the practice of home movies has followed, recorded and sometimes predicted those conscious and unconscious changes within the family unit.

This investigation proposes to employ the use of the mood management theory to examine the role of emotions in the entertainment experience, and how the emotions an audience member experiences while watching a movie can influence their overall ratings of it. Researchers will separate the components of the mood management theory into two experiments: one to explore how the difference in the experience of positive and negative affect influences audience ratings and the other to explore how the degree to which an individual experiences positive emotion influences their ratings for a movie. Using two movies of differing quality, researchers will measure the experience of emotion in participants and examine how it influences their ratings of the movie they watched. Researchers should expect to find significantly higher results across the board from participants who watched the movie Argo, which would indicate that higher quality movies adhere to the mood management theory in that they elicit both more instances of positive affect than negative affect and stronger emotional experiences in audience members.

This study analyzes the depiction of drug usage, cigarette smoking and alcohol consumption in movies in terms of character stereotyping and typecasting. Because movies are focused on making money they are being used as marketing tools by alcohol and cigarette conglomerates (Grube, 2004). The study also explores youth perception of such content and tries to determine the behavioral implications or influence of such content on young children. The goal of this research is to analyze the social cognitive influence of movies on the youth and the effects of censorship in movies today. The research compares this effect in the two largest movie markets - the American market (Hollywood) and the Indian market (Bollywood) and the effect of these depictions on the youth to see whether this issue warrants a global understanding and awareness. The aim of this study is to understand the nature of the movie markets and the depiction of such content in movies. It analyses the issue solely from the perspective of a youth audience to better understand how the youth today perceive movies and to see if depiction of cigarette smoking, alcohol consumption and drug usage has a positive or negative effect on the youth audience. A part of the analysis of the study is to also better understand censorship techniques employed for both movie markets to see if they are effective or need to be improved upon. Finally the study asks the question of social responsibility and whether movies and movie stars have a responsibility to maintain higher censorship standards or they are merely depiction art through the medium and should not be held accountable for their depictions on screen.

The primary purpose of this study was to find the content and form of movies which conform to the taste of the majority of Thai audiences and, at the same time, are universal enough to attract international audiences. Because film is an extension of other art forms, this required extensive research into the roots of Thai performing arts.