Submitted in partial fulfillment in compliance with the requirements for the Masters Degree in Technology: Fine Art, Durban University of Technology. Durban. South Africa, 2014. / The aim of this study is to interrogate the validity of Historical film as a representation of the past and a source of historical knowledge, in the work of Richard Attenborough, Claude Lanzmann, Angus Gibson and Jo Mennel and my film practice, using Robert Rosenstone’s theories, the 6 Codes of Representation (Rosenstone, 1995a) and the 4 Modes of Invention (Rosenstone, 1995a) as a theoretical framework. The main research question is: How can Historical film preserve the historical integrity of a subject whilst entertaining the viewer? Three different film genres were analyzed using this theoretical framework. Films included the Historical Drama Gandhi (1982), the Historical Documentary Mandela (1996) and the Experimental Historical film Shoah (1985). This research interrogates the degrees to which history presented on film can be altered, without becoming an invalid representation of the past. Research outcomes have concluded that the Historical film will inevitably dramatize a subject in order to appeal to a larger audience. However, in making a Historical film, a filmmaker’s decision to stray from historical facts must be supported by a sufficient justification of any significant fabrication, and an explanation of how it benefits the historical subject. This study informed my practical component, consisting of a treatment and storyboard for what I term a hypothetical Historical Experimental film, exploring the Aversion Therapy. These therapies were practiced on SADF conscripts in order to ‘’ cure’ them of ‘illnesses’ such as homosexuality (Kaplan, 2001). It is my hope that this study and proposed film will encourage people to investigate and discuss the Aversion Therapies, creating an awareness of a subject that has had little exposure post 1994. / M

This thesis problematizes the notion of memory as a non-gendered mechanism by examining the construction of memory and subjectivity in Chris Marker's La jetâee and Sans soleil. Using the theoretical frameworks of Jacques Lacan, Bracha Ettinger, and Andrâe Bazin, the paper argues that La jetâee presents a model of phallic memory corresponding to a Lacan's understanding of desire and subjectivity, while Sans soleil offers a model of matrixial memory based on Ettinger's theorization of the gaze. Bazin's work is used to address aesthetic issues, as well as providing a method for exploring how the phallic and matrixial frameworks impact the formal construction of the films. Ultimately, La jetâees model of phallic memory is shown to sever past from present in a manner corresponding to Lacanian notions of desire, castration, and loss, whereas Sans soleil demonstrates the potential of matrixial memory to establish a liminal relationship between past and present. / by Jeremy Barr. / Thesis (M.A.)--Florida Atlantic University, 2011. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2011. Mode of access: World Wide Web.

Thesis (M.A.)--University of Adelaide, Dept. of Social Inquiry, 1999? / Includes bibliographical references (leaves 104-117).

Thesis (Ph. D.)--Indiana University, 1985. / Includes bibliographical references (p).

Thesis (M.A.)--Flinders University, Dept. of Screen Studies. / Typescript bound. Includes bibliographical references: (leaves 147-156) Also available online.

Thesis (Ph. D.)--Indiana University, 1985. / Includes bibliographical references (p).

Bibliography: leaves 104-117.

Thesis (Ph. D.)--University of Texas at Austin, 2007. / Vita. Includes bibliographical references.

Title from first page of PDF document. Includes bibliographical references (p. 49-51).

Text in English / Psychologists-in-training are often presented with textbook definitions and descriptions of individuals presenting with psychopathologies. A major challenge for such texts is to effectively convey the relational issues and interpersonal dynamics of the mental disorders. The current study explores the role of film in enhancing intern clinical psychologists’ understanding of borderline personality disorder by specifically utilising the films Sylvia and Black Butterflies. A qualitative, phenomenological study was conducted with 15 clinical psychology interns at a tertiary psychiatric hospital in Gauteng, South Africa. The collected data consisted of responses to open-ended questionnaires and semi-structured interviews and was analysed according to an interpretive phenomenological analysis. Although the analysis was conducted inductively, the researcher also made deductive inferences from the data based on contemplations about the link between archetypes and images and learning and archetypal experiences. The importance of and connection to 21st-century learning skills, the creative learning spiral and a pedagogy of play were also taken into consideration while analysing the data. The findings of the current study suggest the ability of the two films to draw one in and to cause one to emotionally connect with the characters. Furthermore, films form an opportunity for trainees to practice psychodynamic formulations and not only focus on biological reductionisms of the disorder. / Psychology / M.A. (Psychology)