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The problems of producing a translation of Lope de Vega's El perro del hortelanoZilimer, Herman Lawrence. January 1958 (has links)
Call number: LD2668 .T4 1958 Z85
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A production book for Waiting for GodotBaker, Ruth Ann. January 1964 (has links)
Call number: LD2668 .T4 1964 B16 / Master of Science
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A production book for The member of the weddingCary, Elizabeth Ellen. January 1966 (has links)
LD2668 .T4 1966 C37 / Master of Science
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A production book for A streetcar named DesireWilson, Rodney M. January 1966 (has links)
LD2668 .T4 1966 W752 / Master of Science
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A production book for The waltz of the toreadorsNorris, Betty L. January 1966 (has links)
Call number: LD2668 .T4 1966 N853 / Master of Science
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Understanding film and video as tools for change : applying participatory video and video advocacy in South AfricaCain, Julia 03 1900 (has links)
Thesis (DPhil (Drama))--Stellenbosch University, 2009. / The purpose of this study is to examine critically the phenomenon of participatory
video and to situate within this the participatory video project that was initiated as
part of this study in the informal settlement area of Kayamandi, South Africa. The overall objective of the dissertation is to consider the potential of participatory video within current-day South Africa towards enabling marginalised groups to represent themselves and achieve social change.
As will be shown, the term ‘participatory video’ has been used broadly and applied to
many different types of video products and processes. For the preliminary purposes
of this dissertation, participatory video is defined as any video (or film) process
dedicated to achieving change through which the subject(s) has been an integral
part of the planning and/or production, as well as a primary end-user or target
audience. The two key elements that distinguish participatory video are thus (1)
understanding video (or film) as a tool for social change; and (2) understanding
participation by the subject as integral to the video process.
An historical analysis thus considers various filmmaking developments that fed into
the emergence of participatory video. These include various film practices that used
film as a tool for change -- from soviet agitprop through to the documentary
movement of the 1930s, as well as various types of filmmaking in the 1960s that
opened up questions of participation. The Fogo process, developed in the late
1960s, marked the start of participatory video and video advocacy and provided
guiding principles for the Kayamandi project initiated as part of this dissertation.
Practitioners of the Fogo process helped initiate participatory video practice in South
Africa when they brought the process to South African anti-apartheid activists in the
early 1970s. The Kayamandi Participatory Video Project draws on this background
and context in its planned methodology and its implementation. Out of this, various
theoretical issues arising from participatory video practice contextualise a reflection
and an analysis of the Kayamandi project. Lastly, this study draws conclusions and
recommendations on participatory video practice in South Africa.
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Ethics in the production of Hong Kong moviesLau, Tsz-wan, Christal, 劉芷韻 January 2007 (has links)
published_or_final_version / abstract / Criminology / Master / Master of Social Sciences
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A DIRECTOR'S PRE-PRODUCTION ANALYSIS OF BERTOLT BRECHT'S "THE CAUCASIAN CHALK CIRCLE.".Faiznorouzi, Mohammad Reza. January 1984 (has links)
No description available.
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"Disney is the Tiffany's and I am the Woolworth's of the business" : a critical re-analysis of the business philosophies, production values and studio practices of animator-producer Paul Houlton TerryHamonic, Wynn Gerald January 2011 (has links)
Animator-producer Paul Houlton Terry has been portrayed as having little passion for the animation he produced and being more concerned with making a profit than producing entertaining cartoons with high production values. The purpose of the dissertation is to re-evaluate Terry‘s legacy to animated cartooning by analyzing his business philosophies, production values, and studio practices. Application of four psychodynamic factors to the early life and career of Terry, 1887-1929, found that his economic decision making was characterized by: an external locus of control, risk-averse financial behaviour, extreme saving behaviour through precaution, and shrewd money management practices. Based on Terry‘s historical responses to twelve major economic, technological, or institutional forces of change for the period 1929-1955, the psychodynamic factors were found to provide accurate explanations for his studio practices and production decisions. There was no evidence to support the conclusion that three early career disappointments undermined Terry‘s intrinsic motivation to create animated cartoons. Rather, Terry‘s lack of risk taking, external locus of control, tight studio production schedule, desire to compete with neighbour studio Fleischer, difficulty in separating financial rewards from creative processes in animation, and practice of undertaking surveillance measures on staff may have undermined his and his studio‘s creativity. Archival research found Terry to possess strong passions for and to have made significant creative contributions to the field of animation. Biographical research found that Terry retained a stable nucleus of highly talented artists who dedicated a significant portion of their working careers to the studio. An analysis of the cel aesthetics of a random sample of animated cartoons produced during the years 1930-1955 found that Terry created animated cartoons with above average cel aesthetics when compared to the other studios thereby supporting an inference that Terry was motivated to producing quality crafted animation. Further research is suggested into the role psychodynamic factors and economic decision-making play in the film production process and a clarification of Terry‘s legacy to the field of animated cartoons.
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Hildegard On Rubble MountainMullins, Michael Bryan 12 1900 (has links)
Hildegard On Rubble Mountain is a cinema verité documentary about Hildegard Modinger's childhood. She grew up in Stuttgart, Germany during World War II and immigrated to the United States at the age of nineteen. This video follows her back to her childhood neighborhood as she recalls memories of that time in her life. The accompanying production book explains the production process: preproduction, production, postproduction, theoretical approaches, style used and a self-evaluation.
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