Thesis (Ph. D.)--University of Southern California, 1973. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 510-517).

Inaug.-Diss.--Breslau. / Vita. Bibliography: p. 81-87.

Thesis (Ph. D.)--University of Southern California, 1973. / Includes bibliographical references (leaves 510-517). Also issued in print.

A broad survey of musical theatre dance styles in film from 1935 to 1985 is used as background information for this creative project. Attention is paid to developments within the art form. The contributions of choreographers Busby Berkeley, Fred Astaire, Agnes de Mille, Gene Kelly, Michael Kidd, Bob Fosse, Jerome Robbins, and Michael Peters are discussed. A detailed description is included of the process involved in translating the film choreography to a stage performance. The film choreography was presented in a lecture demonstration format designed to give the audience a short synopsis of musical film history, then illustrate the information with a performed example.

Thesis (M.A. in communication studies)--Liberty University, 2006. / Includes bibliographical references.

Thesis (Ed. D.)--Teachers College, Columbia University, 1987. / Typescript; issued also on microfilm. Sponsor: Louis Forsdale. Dissertation Committee: Raymond P. McDermott. Bibliography: leaves 217-225.

Undergraduate honors paper--Mount Holyoke College, 2005. Program in American Studies. / Includes bibliographical references (leaves [115]-122).

Thesis (Ph.D.)--Bowling Green State University, 2006. / Document formatted into pages; contains ix, 297 p. Includes bibliographical references.

This thesis makes three claims new to the critical literature onWalt Disney’s 1940 film Fantasia. Setting the scene by placing a spotlight on the long-serving Philadelphia Orchestra conductor Leopold Stokowski, it contextualizes his pervasive influence, as well as contributions by others that shaped Fantasia and defined the film’s stylistic elements. Inspired by recent critical debates on post-silent era filmmaking and theories of authorship, it makes a case for Fantasia being the culmination of a “sound film” and notes that its displays of individual artistic talent makes it a noteworthy example of distributed authorship. Fantasia remains a unique experiment in Disney’s filmmaking in that it acquired its eventual form only because of decisions taken during production since no absolute “blue-print” for the finished film existed at the time it went into production, when a large selection of musical numbers were assigned to teams of animators. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2017. / FAU Electronic Theses and Dissertations Collection

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