This thesis considers the construction and circulation of the image-text 'Audrey Hepburn', and its reception by young British women across two moments: the 1950s and 1960s, and the 1990s. The project uses a tripartite methodology: close analysis of film texts, press and publicity relating to Hepburn; archival research using sources including women's and film fan magazines, and interviews with women who admire and have admired Audrey Hepburn. The thesis argues that Hepburn can be understood as a star who offers an address to a feminine audience, and goes on to explore the taking up of that address through analysis of the data gathered in the interviews, paying particular attention to questions of class, generation and socio-historical moment. The research presents a number of different kinds of material: it considers Hepburn as a star and the reasons for her enduring popularity; it suggests the flexibility of her image as key in understanding this longevity and in enabling her to appeal to women across lines of class and generation. The thesis argues that it is this flexibility, and the ways in which Hepburn's image manages social contradictions, which have been key to the way consent has been secured from women around her as a star. It investigates the nature of the relationship between Hepburn and the women who admire her, and also, through their detailed talk, offers insight into the social history of femininity. In attending to both text and audience, the thesis attempts to think the relationship between them outside psychoanalytically informed theories of identification which have been hegemonic in film theory, offering instead the terms resonance and recognition as ways of understanding that relationship. An interdisciplinary project, the thesis represents a 'cultural studies of film' which extends existing work on stars such as Dyer (1979,1982,1986, 1991) and Stacey (1994).

The present study deals with the use of classical music in narrative film, and some of the theoretical and historical considerations that can help us contextualize and understand that use. The following is a list of chapters, and a summary of concepts contained therein. CHAPTER ONE: After briefly considering some of the challenges of interdisciplinary scholarship, I will review the literature on classical music in the sound film. This review will touch upon the early (1930s and 1940s) commentaries of Kurt London, Hanns Eisler and Theodor Adorno, and John Huntley, and then pass on to a kind of concensus held between both commentators and composers of the 1960s and 1970s. Finally I will review the work of more recent film music scholars who, along with some others working in other fields, provide what I feel to be a more open model for understanding this kind of film music. CHAPTER TWO: Having reviewed the position of the film music community, this chapter will concern some responses of music critics to film music generally, and the appropriation of classical music in particular. I will outline specific complaints and criticisms, and attempt to show some of the broader socio-musical issues that motivated them. CHAPTER THREE: This chapter will consider the musical parallelism associated with traditional Hollywood-type narratives, and then concentrate on the oppositional model (derived from "montage" aesthetics) represented by Soviet and other modernist cinemas. I will deal especially with the influential "counterpoint analogy, " and consider how musical discourse can resolve some of the confusions that this analogy has habitually presented. CHAPTER FOUR: The last chapter will have presented a counterpoint based on musical principles as a possible analogy or metaphor for how film music works, and how its meaning and affect can be understood. This chapter is about the programme music tradition that prevailed in the nineteenth century. I will enumerate some of its sin-fflarities, musically and in terms of its critical reception by the music community, to film music. I will explore how programmes, or extra-musical narratives, are also central to understanding musical meaning, and to the use of classical music in films. CHAPTER FIVE: Here I will look more closely at montage, meaning, and classical music on film. A number of questions will be addressed. What are the interpretive strategies that most apply? How does musical meaning function in a film context, especially with regard to source music? Beyond classical music in general, what is the importance of periods, idioms, composers and specific pieces? What is the significance of the artist's intent? What about when the artist is not fully in control of his circumstances, or of his craft? What of phenomenology? All of these expansions obviously complicate the equation. Accordingly the concept of indeterminacy will be reviewed to suggest how both chance and control operate within musical montage. CHAPTER SIX: I will suggest and expand upon some of the extra-musical implications of this study. I will suggest some of the possibilities these raise for future research.

This thesis examines how early cinema’s social function was mediated by local and national institutions as well as civic agencies in Scotland between c. 1896 and 1933. It proposes a social-historical approach that is based on extensive archival research of documents such as local newspapers, town council minutes, education authority minutes and Scottish Office records. As an empirical and historical study it focuses attention on the social-historical circumstances of cinema exhibition and reception as proposed by New Cinema History. The thesis’ main argument is that institutional responses fell into two categories – constraining and constructive strategies to negotiate cinema’s role in Scottish society. Parts 1 and 2 discuss strategies of control which sought to limit cinema’s social impact as a commercial institution while the third part is concerned with attempts to redefine cinema’s social purpose through the creation of alternative film cultures and exhibition practices. The first part identifies for the first time the specificities of the legal and administrative framework within which cinemas were allowed to operate in Scotland before 1933. It contends that the legal basis of the framework was determined by the Scottish Office’s relationship with Britain’s central government, and that its application by local licensing authorities depended also on the dynamics of municipal power structures. A further argument is that Scottish licensing authorities were more resistant than their southern counterparts to interfere with the content of film shows and exercised control mainly through the regulation of the cinema space and negotiations with local cinema trade bodies. Part 2 analyses British national debates about the legitimacy of cinema as well as film’s potential for education, providing a discursive context for the practices explored in the first part. Centring on the 1917 and the 1925 Cinema Commissions, it focuses especially on the perceived link between cinema-going and juvenile crime and film’s usefulness as a teaching aid. These themes are explored from a Scottish perspective incorporating local debates from Edinburgh and Glasgow. This part maintains that the discourse about the negative effect of children’s cinema-going and the debate on the potential teaching value of films were connected in that they both constructed the child as an impressionable spectator that required institutional guidance and protection. Part 3 considers two constructive endeavours to shape early cinema’s social role in Scotland. It engages with the field of Useful Cinema and argues that this must not be confined to particular films or technologies but must include cinema exhibition practices that were religiously-, educationally- or politically motivated. First, municipal cinema is discussed as an alternative exhibition practice that tried to expand the role of the municipality as public service provider and match the ambitions of its organisers with the taste of local audiences. Second, the diversity of attempts to mediate cinema’s social role is once more illustrated in the case of the Scottish Co-operative Wholesale Society’s cinema and film work. This is explored diachronically and demonstrates that the Society’s engagement with cinema corresponded to broader contemporary debates discussed throughout the thesis. This part illustrates that the boundaries of cinema’s social function were constantly shifting during the period under consideration and that constructive strategies to define it anticipated characteristic strands of cinema culture emerging in Scotland subsequently.

The view of making sense of a person’s reality through the stories they tell about their lives, developed by Bruner (1991) and McAdams (1993) is the theoretical perspective used to reveal what offenders’ life-stories uncover about their offending action. Interviews with 63 incarcerated offenders and 90 non-incarcerated males’ explored three life-episodes: a Significant Event (SE), crime or deviant act, and life as a film. Narrative Roles Questionnaire (NRQ) and demographic information was also collected. The LAAF framework for eliciting and interpreting life-story narratives was implemented. The LAAF is developed from psychological literature from different aspects of narrative focusing on three primary areas: McAdams (e.g. 1993) life-stories, Bamberg’s (2009) identity in narrative, and Sykes and Matza’s (1957) neutralisation theory. The first section of analysis focuses on SE and film narratives. Firstly, incarcerated and non-incarcerated descriptions of SE and film, for each of the LAAF content variables, were compared employing Chi Square analysis. Findings show the incarcerated group having more negative items identified in their life-episodes. This difference was consistent in SE and film narratives. Secondly, SSA-I explored the thematic structure of the LAAF variables for the incarcerated and non-incarcerated individuals. A thematic region within the incarcerated SSA-I plot termed ‘contamination script’ was found in all of the incarcerated offenders narratives, for SE and film, but in only a small proportion of the non-incarcerated narratives. Thirdly, archetypal themes were identified in the SSA-I configuration showing distinct regions of themes relating to Youngs and Canter’s (2011; 2012) classifications of hero, victim, revenger and professional for the SE and film narrative. Findings demonstrated psychological consistency with dominant narrative roles across the two life-episodes. The second section focuses on crime and deviant life-episodes. Youngs and Canter (2012) identified narrative themes in offenders’ NRQ responses. First, SSA-I configuration confirmed narrative themes in the incarcerated and non-incarcerated responses to NRQ items. Principal Component Analysis revealed psychological components of emotion, identity, and cognitive interpretations in NRQ items. Secondly, crimes and deviant acts were differentiated using: property, person, and sensory categories; a psychological classification system, based on Bandura’s (1986, 1999) theory of incentives. Multivariate analyses of the NRQ responses provided loose support for different narrative themes underpinning different crime types. Qualitative thematic analysis revealed a number of psychological themes of emotion, preparedness, and blame present in both incarcerated and non-incarcerated narratives; differences were exhibited by Feshbach’s (1964) instrumental and expressive dichotomy. Similar dominant narrative roles were exhibited by the incarcerated and non-incarcerated crime and deviant episodes; differences resided in the contamination script and level of instrumentality. Psychological consistency, in different life-episodes, demonstrates theoretical contributions. Methodological contributions are recognised by the success of the LAAF framework for exploring criminals’ narratives. The application of a narrative perspective provides a tool for researching criminal action in a way that makes sense to those closest to the action – the criminal.

This thesis proposes an empirical approach to the history of film distribution and exhibition in Scotland before 1918. It deploys geo-database tools as a way to collect and analyse data from a range of archival and print sources, and to engage with historiographical questions about the emergence of cinema as an institution in a non-metropolitan context. The first part introduces the theoretical and methodological premises that underpin the project, situating it in relation to growing academic interest in early distribution and local film practices. A research method is outlined, involving the construction of a relational database documenting the places of film exhibition and the geographical variation in programming practices. This database, working alongside more detailed archival case studies, constitutes the foundation for broader discussions about the commercial, social and ideological roles of film and cinema. The analytical framework incorporates notions such as the commodity nature of film and the tension between different conceptions of the social role and position of cinema within Scottish communities. The emergence of institutional practices and structures in Scotland is thus described as occurring in a complex field of forces where two main polarities appear as prominent: Firstly, a tension between decentralised, local practices and the increasingly globalised operations of the film industry; and secondly, a shifting balance between regularisation and distinction, or the ordinary and the extraordinary. It is in terms of this fluid equilibrium that two overlapping moments in the history of the early Scottish film trade are described in the second and third parts of the thesis. Part II follows the creation and expansion of the Scottish market and popular demand for moving pictures, showing how different forms of film supply enabled the coexistence of various types of itinerant exhibition, and then of a gradual transition to fixed-site shows. It starts by exploring the continuities between film exhibition and existing cultural forms such as lantern lecturing and the music hall. It highlights the significant level of agency exercised by local exhibitors and renters within an open-market model that allowed the outright sale of films, and which also established a commercial interdependency between city-centre and peripheral exhibition. Part III argues that, once the market reached a relatively stable state with the regularisation of supply and the growing standardisation of the film product, the increasing concentration of capital and power in larger companies (both in the regional and the global scale) marked a shift in the balance of forces, away from unrestricted circulation and towards exclusivity. This is seen as a reformulation of the commodity status of film, associated with the emergence of feature programming. The consequences of the new textual and industrial trends for the Scottish distributors and exhibitors are considered, revealing geographical variation in their adoption, as well as incipient forms of resistance to the emerging institutional practices.

This study addresses the relationship between the veil and the constitution of what I have tenned the Muslim female subject in the field of visual and popular culture, with a special emphasis on film. My case-studies range from European historical texts to contemporary visual culture and social practices with reference to the Middle East. The study draws on postcolonial and feminist literature to explore the productions of the Muslim female subject within the discourses of (post)colonialism, nationalism and Islamic patriarchy. It examines the Muslim female subject in relation to the paradigms of veiling and unveiling in a cross-cultural yet context-specific differentiated analysis. The aim is to interrogate the mobility of the veil and the manner in which it can be evaded, substituted or transferred without transgressing the codes of Islamic female modesty. It identifies different manifestations of the veil's mobility, which I contend challenge Islamic hegemonic discourses whilst simultaneously transcending the colonialist paradigm of unveiling. The material I discuss ranges from (de-)colonial cinematic texts, Iranian cinema and advertising for Saudi Arabian Television. I look at canonical texts such as Gillo Pontecorvo's The Battle of Algiers (1966) and Abbas Kiarostami's 10 (2002) in view of their significance in scholarship relating to the Muslim female subject within film studies. I also examine manifestations of the veil in the field of fashion and make extensive reference to paradigmatic representations of the Muslim female subject in contemporary art and curatorial projects.

This thesis analyses representations of urban violence in Colombia within four cultural products published/released in the time period 1990 to 2005 . The cultural products belong to genres commonly regarded as distinct, and divided between ‘fiction’ and ‘non-fiction’ – a novel, film, ‘testimonio’ and documentary. Methodologically, the analysis focuses on each cultural product as a whole – the text itself and its marketing paratext. In this focus on the cultural product as a whole, it also considers the role of the audience in the consumption of the cultural products and their themes. The theme the thesis specifically engages with is the representation of violent actors, and focuses in particular on their status as fourth world inhabitants. The fourth world is a theoretical category developed by Manuel Castells to describe spaces which are excluded from global networks and flows of information, resulting in ‘black holes’, such as favelas, inner city ‘ghettos’ and slums, in which inhabitants are unable to gain access to services and regular employment. The thesis looks at the development of myths surrounding these spaces and their inhabitants, and the role played by cultural products in constructing and perpetuating divisive myths. It posits a growing globally homogenised representation of the fourth world inhabitant as violent and destructive, creating a binary between fourth and first world inhabitants to which the representations in these particular Colombian cultural products are linked. Overall, the thesis argues that the representation of violent actors in Colombia, and in particular the city of Medellín in this time period, illustrates that the distinction between fiction and non-fiction has collapsed, due to the strength of myths surrounding fourth world figures.

This thesis examines the performance history of Shakespeare focusing on those productions performed as a period analogue of the nineteen-thirties. It engages with the material in two ways. It first attempts to locate influences that have led to the development of this style of performance, finding correlations with both theatrical and televisual drama. It then examines the productions as performed, focusing on the construction of scenography and actor performances. Throughout the analysis, this thesis engages with shifts in the representation of the historical past on both stage and screen.

This thesis examines contemporary literary and cinematic representations of Paris in relation to the dynamics of collective memory, arguing that the city emerges as a privileged site in which to explore critical questions of identity, memory and citizenship in France. In this comparative approach to representations of memories of the Holocaust and the Algerian War in France, I identify a shared lexicon of urban space simultaneously hiding and revealing traces of the past in the contemporary city. This study of memories and their urban and palimpsestic representations challenges the tendency to separate the disciplines of postcolonial and post-Holocaust studies, and in so doing contests the conceptual separation of metropolitan, European and colonial histories. As such, it contributes to a growing interdisciplinary field of French and Francophone studies that extends the object of study beyond the purely metropolitan. I draw on and engage with theoretical work in the fields of memory studies, postcolonial studies and post-Holocaust studies to consider how urban space opens up a legitimate new way of engaging with the overlaps and intersections between different memories without undermining the crucial element of difference. Underpinned by poststructuralist concerns, memory emerges here as an inherently constructed concept.

This study explores issues of technique, methodology and style in ethnographic/documentary films, with a focus on Sardinia. How are cultural realities constructed in documentary and ethnographic films? In what ways do practical filmmaking strategies reflect wider epistemological questions and ethical concerns? The thesis examines the general stylistic principles that have guided the making of a substantial body of documentary films about Sardinia. Attention has been paid to a range of different methods used by a select number of documentary and ethnographic filmmakers, covering important theoretical points on the distinctive set of technical, aesthetic and ethical problems embodied in the epistemology of their filmmaking practice. The study concludes that scholars should look for a more balanced fusion between film as a multisensory medium of ideas and forms of ethnographic enquiry conducted through language. The nonverbal elements and visual imagery in ethnographic/documentary films suggest obliquely that a kind of knowledge expressed in the concrete case requires an acknowledgment of domains of experience that often elude written expression.