Film exhibits an existential time structure. It presents characters and events in the present moment and as the film progresses the future of the characters is built from their past within the film. Characterisation in film differs from that of the novel primarily in that characters are seen as they become what they are through their actions. In the novel a character is already fixed. Film also differs from theatre in that the differing use of space allows for a more intimate acting style on the part of the actor and more involvement on the part of the viewer. Film noir, in particular, manifests existential themes in its plot lines and characterisation, e.g. alienation, anxiety and the developmental nature of personality. A number of theorists have attempted to define film noir and to account for its distinctive look. These include David Bordwell, Borde and Chaumeton and Christine Gledhill. So far no definition has successfully accounted for all the features present in these films. An existential analysis offers a new way to approach this problem. Due to its distinctive use of philosophical themes film noir constitutes a separate and continuing genre. A noir paradigm can be established by isolating these philosophical themes and the stylistic methods which express them. This can be used as a criterion to identify noir films. Noirs can be divided into different periods by identifying the dominant theme of various decades. These reflect the social conditions of the time as well as popular response to existential philosophers, for instance, Sartre and Nietzsche who have both been considerable popularised. In addition noir can be seen as a response to restrictive Hollywood practices.

Mémoire (M.Ed.)--Université du Québec à Chicoutimi, 1997. / Document électronique également accessible en format PDF. CaQCU

Typescript. Includes vita and abstract. Includes bibliographical references (leaves 329-345). Also available online in ProQuest, free to University of Oregon users.

Orientador: José Roberto Zan / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T14:58:27Z (GMT). No. of bitstreams: 1 Vicente_RodrigoAparecido_D.pdf: 3123932 bytes, checksum: f86d66df46900853b99ebd4269c3bc7f (MD5) Previous issue date: 2014 / Resumo: A década de 1950 é um dos momentos-chave da história da música popular brasileira. Nesse período, diferentes ramos da incipiente indústria cultural se modernizam e começam a se articular de modo mais orgânico. Além disso, recrudesce a segmentação da produção musical, formando-se audiências específicas para cada gênero e estilo em circulação nos principais meios de comunicação. É nesse contexto que surge o Trio Surdina, conjunto ligado num primeiro instante a um programa de rádio que tencionava reproduzir a sonoridade e o ambiente intimista das pequenas boates que então proliferavam na zona sul do Rio de Janeiro. Sua produção se insere na chamada era da "Alta Fidelidade" - tradução literal de High-Fidelity, mais conhecida pela abreviação Hi-Fi -, um momento marcado pela introdução de novos suportes, equipamentos e técnicas de gravação no âmbito da indústria fonográfica. A partir do estudo dos elementos e procedimentos constituintes das performances registradas nos LPs do Trio Surdina, este trabalho investiga em que medida a sonoridade do conjunto informa a existência de uma nova sensibilidade auditiva, de um novo "ouvido social" que se configura entre as décadas de 1940 e 1950, ligado no caso a uma fração da classe média que esteve no centro da vida sociocultural da zona sul carioca. Conforme indicam os discursos da época, certos agentes sociais estavam em busca de um tipo de música mais intimista, "moderna" e de "bom gosto", pautada pela economia de elementos, pelo tratamento "suave" e por uma "técnica aprimorada" de interpretação. A sonoridade concebida pelo Trio Surdina parecia corresponder a tais expectativas, destacando-se no segmento dos chamados "conjuntos de boîte". Em síntese, procurou-se compreender de que modo as obras musicais traduzem e condensam em suas estruturas experiências estéticas, sociais e históricas mais amplas. Nessa direção, destacou-se, ao mesmo tempo, o conteúdo propriamente original e específico da produção do Trio Surdina, isto é, aquilo que, nas músicas, escapa tanto aos padrões e convenções de estilo, quanto aos valores e juízos intrínsecos aos discursos do seu tempo, permanecendo em estado de potência como possibilidades expressivas elaboradas a partir da linguagem da música instrumental / Abstract: The 1950s are one of the key moments in the history of Brazilian popular music. At that time, different branches of the incipient cultural industry modernize and begin to articulate in a more organic way. Moreover, there is an increased segmentation of music production, emerging specific audiences for each style in the main media. It is in that context that is formed Trio Surdina, a musical group associated initially to a radio program that intended to reproduce the sonority and the atmosphere of small nightclubs which then proliferated in the southern area of Rio de Janeiro. The group¿s production is closely associated with an innovation of the recording industry at that time, the "High Fidelity", better known by the abbreviation "Hi-Fi". From the formal study of the Trio Surdina¿s work, this thesis investigates how the sonority of this musical group reflects a new "social listening", which seems to emerge between the 1940s and the 1950s linked to a fraction of the middle class that was in the center of social and cultural life of the southern area of Rio de Janeiro. As indicated by discourses of that time, certain social agents were looking for a kind of more intimate, "modern" and "tasteful" music, characterized by the economy of elements, "soft" treatment and a "refined technique" of interpretation. The sonority conceived by Trio Surdina seemed to correspond to such expectations, especially in the segment of the so-called "boîte groups." In short, this research aims to understand how the music of Trio Surdina translates and condenses into its structures aesthetics, social and historical experiences. At the same time, we emphasize the original and specific content of the production of Trio Surdina; in other words, the content that goes beyond the standards and stylistic conventions, as well as the intrinsic values and judgments to the discourses of that time, remaining as potential expressive possibilities elaborated from instrumental music¿s language / Doutorado / Música, Teoria, Criação e Prática / Doutor em Música

Thesis (Ph. D.)--University of California, San Diego, 2008. / Title from first page of PDF file (viewed December 16, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 206-219).

Thesis (M.A.)--Miami University, Dept. of History, 2008. / Title from first page of PDF document. Includes bibliographical references (p. 26-31).

Yong Wai Ting. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2006. / Includes bibliographical references (leaves 100-103). / Abstracts in English and Chinese. / Abstract --- p.i / 論文摘要 --- p.iii / Acknowledgements --- p.iv / Introduction --- p.1 / Chapter Chapter One: --- Literary Language Versus Film Language --- p.17 / Chapter Chapter Two: --- Cinematic Novels Versus Novelistic Cinema --- p.46 / Chapter Chapter Three: --- Film Adaptation: Transfer Versus Cinematic Reshaping --- p.73 / Work Cited --- p.100