Thesis (M.F.A.)--Rochester Institute of Technology, 2007. / Typescript.

Thesis (M.F.A.)--Rochester Institute of Technology, 2008. / Typescript. Accompanying CD-R contains the thesis as 11 Microsoft Word documents. Includes bibliographical references (leaf 33).

Thesis (Ph. D.)--University of British Columbia. / Typescript. Examines "several important literary works of the Newfoundland diaspora, including the poetry of E.J. Pratt and Carl Leggo, the drama of David French, the fiction of Donna Morrissey and Wayne Johnston, and the memoirs of Helen M. Buss/ Margaret Clarke and David Macfarlane." (p. ii). Includes bibliographical references (p. 252-265). Also available online.

Thesis (M.A.)--Memorial University of Newfoundland, 1996. / Bibliography: leaves 126-130. Also available online.

Thesis (M.A.)--York University, 2004. Graduate Programme in Film and Video. / Typescript. Includes bibliographical references (leaves 196-198). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pMQ99328

This thesis deals with the perception of the Cold War in selected German feature films. Sonnenallee (Leander Haussmann, 1999), Die Unberührbare (Oscar Roehler, 2000), Good Bye Lenin! (Wolfgang Becker, 2003), Herr Lehmann (Leander Haussmann, 2003) and Das Leben der Anderen (Florian Henckel von Donnersmarck, 2006) have been selected for a comparative analysis that focusses on narratives of the Cold-War era after reunification, and for an examination of how the social impact of German unification has been addressed in these films. In terms of methodology, the thesis uses Pierre Sorlin's social history of cinema and Pierre Nora's concept of lieu de mémoire to describe the social imagination and nostalgic representation of memories. There is a research gap in previous studies concerning how the Cold War has become a topic in recent German feature film production, and this study aims to complement those earlier works.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, Programa de Pós-Graduação em Artes, 2017. / Submitted by Raquel Almeida (raquel.df13@gmail.com) on 2017-07-31T14:12:16Z No. of bitstreams: 1 2017_FilipeHenriqueBezerraMatosdeAlencar.pdf: 5672661 bytes, checksum: 9bd8eebdda4155d14983007746a9fd85 (MD5) / Approved for entry into archive by Raquel Viana (raquelviana@bce.unb.br) on 2017-09-15T15:56:15Z (GMT) No. of bitstreams: 1 2017_FilipeHenriqueBezerraMatosdeAlencar.pdf: 5672661 bytes, checksum: 9bd8eebdda4155d14983007746a9fd85 (MD5) / Made available in DSpace on 2017-09-15T15:56:15Z (GMT). No. of bitstreams: 1 2017_FilipeHenriqueBezerraMatosdeAlencar.pdf: 5672661 bytes, checksum: 9bd8eebdda4155d14983007746a9fd85 (MD5) Previous issue date: 2017-09-15 / Este trabalho apresenta reflexões a respeito dos recursos gráficos de videogames em Pixel Art e Low Poly Art, e os seus desdobramentos estéticos e poéticos. Nesse processo, levantam-se questões sobre a relação dessas imagens com o jogador e com o artista e desenvolvedor. As principais questões tratam do processo criativo e do sentimento de nostalgia que envolve essas imagens. Chega-se então, a partir de conceitos da psicologia cognitiva sobre criatividade e memória, e de informações disponibilizadas em entrevistas pelos artistas, aos termos Catalisação Criativa e Poética da Nostalgia. Expõe-se o percurso histórico das imagens em Pixel Art, desde a popularização de PONG, o primeiro videogame de grande sucesso comercial. Em seguida traça-se um paralelo histórico entre o fenômeno da Pixel Art e Low Poly Art. Com isso, procura-se aproximar as duas técnicas e discutir os processos de catalisação criativa e nostalgia que as envolve. A partir dessa linha do tempo e da análise das imagens de alguns jogos, percebe-se o efeito do avanço sobre uma obsolescência gráfica, levando ao descarte as imagens mais antigas dos videogames. Esse ciclo passa a ser questionado com a popularização dos Indie Games – também objeto de discussão desta pesquisa –, que retomam o uso de recursos gráficos considerados ultrapassados e os ressignificam. / This dissertation presents reflections on Pixel Art and Low Poly Art graphic resources and its poetics and aesthetics developments. In this process some concerns have been raised on the relation of the player, the artist and the developer to these images. The main issues refer to the creative process of these artists and the feeling of nostalgia that is about these images. From some concepts of cognitive psychology about creativity and memory, and from information gathered in interviews, the terms Creativity Catalysis and Poetics of Nostalgia are presented. The historical path of the Pixel Art images is exposed, since the popularization of PONG, the first great success commercial videogame. Then it is outlined an historical parallel between the Pixel Art and Low Poly Art graphics. Henceforth it is intended to approximate both techniques and discuss the creativity catalysis and nostalgia process that implicate them. From the presentation of this timeline and the analysis of some game images, it becomes clear the industry stimulus for a graphic obsolescence, leading the more antique videogame images to be discarded. The popularization of the Indie Games – also discussed in this research –questions that obsolescence cycle. They take up graphical resources considered out-of-date and give them a new meaning.

I posit that contemporary fears about the effect electronic media has on us and our children is anything but new. Therefore, reminiscing about the "good ole days" and wanting to go back would not actually solve the problem. However, looking back to a time when there was also anxiety about electronic media and the shifting field of public and private may reveal new possibilities for relating to and with these media. Rather than flatly blame media as an apparently new cause of harm, it is essential to reveal media's historical and political conditions, only in this way can we better assess its possibilities and limits. I argue that the figure of the mother in Poltergeist (1982) and Stranger Things (2016-) can be read as both a metaphor and model for media. The mother exhibits, what I call, active-passivity, which means that she does not amputate herself from her media use and its implications, but rather provides oversight and intervenes when necessary. I draw upon the work of media scholar Marshall McLuhan in order to read the figure of the mother as a cool medium that demonstrates and invites a high level of involvement. The figure of the mother's method of media use is affirmed by the film and offered as not only a mode of media use but also a mode of politicization. In our present moment, we are constantly technologically extended into the world with our networked media. I contend that Stranger Things returns to the 1980s to reveal that even while using cool media, what is important is how one uses that media. I utilize the work of Svetlana Boym in my argument that not only can we learn something from media that is nostalgic, but we can learn something about our relationship with media through nostalgia.

This thesis Ostalgie in Czech art summarizes recent history of art aimed to fifties and sixties of the twentieth century and also the fundamental notion of Czech cultural time - socialist realism. In opposition to the term 'socialist realism', there is a term 'ostalgie', which is focused on a nostalgic memories during normalization. In the theoretical part of this thesis author presents and explains the two main terms and focuses on the cultural aspects which were brought or denied to the nation by to the socialistic system in those times. In the practical part the author follows the theoretical part, especially in creating posters, which is influenced by nostalgic spirit.

Capitalising on the power of nostalgic branding, requires understanding a consumer’s past experience with a brand. Nostalgia is a powerful influential factor that marketers should look at utilising correctly in order for them to successfully leverage off nostalgia and existing relationships between the consumer and the brand. This research has been conducted in order to gain a richer understanding of the nostalgic connections that consumers form with brands. Eight credible female respondents between the ages of 45 - 60, born and raised in Soweto, and who have attained tertiary qualification, were selected for the study. A selective criterion was designed to derive quality and depth in the research findings. The semi-structured interview technique was used for the qualitative research study. The findings revealed that brand nostalgia is rooted at different stages within the consumer’s decision process, depending on the brand and product category. The relationship between nostalgia and the derived benefits from the brands are not always as clear-cut as most marketers think. These benefits can be attained during the use of the brand or at the end of the consumption process. If the benefit does not fit the consumer’s current lifestyle, then the relationship will remain as a memory and the brand will not be purchased no matter how strong the nostalgic connection is between the consumer and brand.The research study was carried out to give marketers a guideline on optimising and capitalising on brand nostalgia. Further recommendations were made to assist future research on this topic, and to help marketers find ways of effectively leveraging off nostalgic connections that consumers form with brands. Copyright / Dissertation (MBA)--University of Pretoria, 2012. / Gordon Institute of Business Science (GIBS) / unrestricted