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The Global ETD Search service is a free service for researchers
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Networked Digital Library of Theses and Dissertations.
Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
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Showing 21 to 29 of 29 (0.022 seconds)Spelling suggestions: "subject:"remake"" "subject:"wemake""
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De l'original au remake : l'évolution de la représentation du mal et de la violence dans les slashersGravel, Jean-Sébastien 12 1900 (has links)
Depuis le début du nouveau millénaire, le cinéma s’est vu envahi par une pratique qui n’avait jamais atteint une telle ampleur : le remake. Lorsque comparée à son film source, la nouvelle version est à tout coup semblable, mais différente à la fois; ont-ils plus de points en commun qu’ils en ont avec les films de leurs époques respectives? En utilisant cette vague de remakes des années 2000, la présente étude propose une analyse comparative afin de démontrer l’évolution de la représentation du mal et de la violence retrouvée dans les remakes d’horreur de type slashers. En guise de première partie, ce mémoire débute avec l’élaboration de la fonction du genre ainsi que celle du remake. Puis, un second chapitre est dédié à la constitution des premiers cycles des slashers afin de comprendre le cheminement du sous-genre. L’étude se conclut par la comparaison de ces informations avec les résultats de l’analyse des remakes de slashers. / Since the new millennium’s arrival, cinema has been invaded by a practice that never before reached this scale: the remake. When compared to its source, the remake is similar, but different at the same time. Are there more common aspects between them by comparison with films of there respective period? By using this wave of remakes, this study suggest a comparative analysis to demonstrate the evolution of the representation of the evil and the violence through horror remakes, slasher films to be more precise. The first part of this thesis dissects the genre functions as well as the remake functions. Then a second chapter is dedicated to the constitution of the first slasher circle in order to notice the progression of the subgenre. This study concludes by the comparison of these informations with the result of the present analysis of the slasher films.
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Women Murder Women: Case Studies in Theatre and FilmMcCurdy, Marian Lea January 2007 (has links)
This thesis looks at two cases of women who murdered women - the Papin sisters (Le Mans, 1933) and Parker-Hulme (Christchurch, 1954) - and considers their diverse representations in theatre and film, paying particular attention to Jean Genet’s play The Maids (1947), Peter Jackson’s film Heavenly Creatures (1994) and Peter Falkenberg’s film Remake (2007), in which I played a part. What happens when two women (sisters, girl friends) commit violent acts together - not against a man, or a child, but against another woman, a mother or (as in the case of the Papin sisters) against women symbolically standing in place of the mother? How are these two cases - the Papin sisters and Parker-Hulme - presented in historical documents, reinterpreted in political, psychoanalytic and feminist theories, and represented in theatre and film? How might these works of theatre and film, in particular, be seen to explain - or exploit - these cases for an audience? How is the relationship between prurience - the peeping at women doing something bad - and the use of these cases to produce social commentary and/or art, better understood by looking at these objects of fascination ourselves? My thesis explores how these cases continue to interest and inspire artists and intellectuals, as well as the general public - both because they can be seen to violate fundamental social taboos against mother-murder and incest, and because of the challenge they pose for representation in theatre or film.
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Interpretace a nadinterpretace Alenky v říši divů / Interpretations and overinterpretations of Alice in WonderlandBlahoňovská, Šárka January 2018 (has links)
The subject of this thesis are interpretations and overinterpretatios of Lewis Carroll's work Alice's Adventures in Wonderland and Through the Looking-Glass, and What Alice Found There. That includes interpretations based on autor's life and the historical period which he lived in, psychoanalytic, feministic and psychedelic interpretations and those which perceive Alice's story as a game. In this thesis there are also mentioned adaptations based on motives of both novels. We use a theory of interpretation of Umberto Eco to distinguish between these interpretations. This theory is used in our own analysis in which we focus on crucial aspects. That means the behaviour of the main character and vice versa, identity of Alice, context, genre and the model reader of the naration. We also focus on these aspects in the selected interpretations. The emphasis is put on the proces of dialectics between the text and its reader which these interpretations and overinterpretations come from. We also try to see it from the point of view of the aproach to the text. That is why this case study reveals a problem of remake and adaptation.
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Les droits dérivés de l'oeuvre audiovisuelle / The derivative rights of the audiovisual workSerfaty, Vidal 08 December 2011 (has links)
Les rapports entre l’oeuvre audiovisuelle et les droits dérivés présentent deux tendances contraires. La première de ces tendances est celle de l’autonomie. En effet, certaines exploitations dérivées ont pour objet des oeuvres telles que les titres et les personnages qui bénéficient d’une protection indépendante de l’oeuvre audiovisuelle. Ce mouvement s’accentue lorsque les titres et les personnages font l’objet de dépôts de marques, car la finalité de la marque diffère de celle du droit d’auteur. La protection cumulative crée des interactions entre les droits, tant dans leur existence que dans leur exercice. Une dernière manifestation de cette autonomie réside dans l’exclusion des droits dérivés du champ de la présomption de cession des droits d’exploitation au producteur, cette exclusion se justifiant par le fait que les droits dérivés ont pour objet la création et l’exploitation d’oeuvres nouvelles. La seconde de ces tendances est celle du rattachement des droits dérivés à l’oeuvre audiovisuelle. Tout d’abord, la propriété commune de l’oeuvre audiovisuelle implique un consentement de l’ensemble des coauteurs à son adaptation. Ensuite la liberté de l’adaptateur est limitée par le droit au respect de l’oeuvre qui fait obstacle à la dénaturation de l’oeuvre audiovisuelle. Enfin, la pratique révèle que le producteur s’érige en personnage pivot de l’exploitation de l’oeuvre audiovisuelle en lui assurant une unité organique. A l’origine des investissements consentis en vue de la création initiale, il va ainsi chercher à participer le plus largement possible aux fruits de l’exploitation en se faisant céder les droits dérivés et en concluant des sous-contrats d’exploitation. / The connection between the audiovisual work and the derivative rights sets out two opposing trends. The first of these trends is that of autonomy. Indeed, some derivative exploitations involve works such as titles and characters that are granted an independent protection of the one granted to the audiovisual work. This movement becomes more pronounced when titles and characters are subject to trademark applications, because the function of the trademark is different from that of copyright. The cumulative protection creates interactions between the rights, both in their existence and in their exercise. A final expression of this autonomy is the exclusion of the derivative rights from the scope of the presumption of assignment of exploitation rights in the audiovisual work to the producer. This exclusion is mainly justified by the fact that the purpose of derivative rights is to authorize the creation and the exploitation of new works. However, and its the second trend, derivative rights remain in many ways related to the audiovisual work. First, the common property of the audiovisual work implies consent of all the joint authors to its adaptation. Then, the freedom of the adapter is limited by the moral right of integrity which forbids the distortion of the audiovisual work’s substance. Finally, the practice reveals that the producer stands as a pivotal character of the exploitation of the rights in the audiovisual work. Taking the initiative of investing in the creation, the producer, in order to extend the field of profit-making, will seek to obtain from the authors the transfer of derivative rights and conclude sublicence agreements with third parties.
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”Kryddan i maten” : Redesign av en kokbok / “Season in food" : Redesign of a cook-bookSkärby, Kim-Richard January 2009 (has links)
<p>The purpose of this project has been to redesign an already existing cook-book. The title of the book <em>(directly translated)</em>, “Season in food – the year around with herbs and spices”, contains what the headline imposes: spices, herbs and food. But when the author tries to entwine these parts and communicate it to the reader it is not working all to well due to a poor and inconsistent graphic design.</p><p>I have followed the theories and values of information design when I redesigned the book layout with the intent to simplify the communication between author and reader. In the progress to make a complete dummie of the book I did multiple literature studies, book analysis, tests and a vast number of drafts.</p><p>In this report I will describe the whole process from start to finish. It is impossible to explain every aspect of every theory and still make it interesting to read. Instead I try to explain the processes in a more comprehensive way. But details are inevitable and at those times it helps to use the appendix.</p> / <p>Mitt examensarbete har inneburit att göra en redesign på en redan befintlig kokbok. På bokensomslag står det: ”Kryddan i maten – året om med örter och kryddor” och den handlar om just detrubriken antyder: örter, kryddor och mat. Tyvärr har författarens syfte, att knyta samman dessa tvåbitar, gått förlorad i bokens inlaga. Detta beror på en inkonsekvent och ostrukturerad formgivning.</p><p>Mitt arbete har varit att med hjälp av informationsdesignens regler och teorier göra om och styraupp bokens layout på ett sånt sätt så att informationen på nytt blir lättillgänglig för användaren. Föratt lyckas med det har jag förutom ett gediget skissarbete även utfört utprovningar, litteraturstudiersamt bokanalyser.I denna rapport avhandlar jag hur hela arbetsprocessen sett ut– från bakgrund till färdigt resultat.</p><p>Rapporten har omöjligt kunnat behandla alla de frågor och tankegångar jag ställts inför utanbehandlar processen på ett mer övergripande sätt. Ibland beskrivs vissa moment detaljerat för attläsaren skall förstå, men genom bilagorna går det att snabbare få en förståelse för vad som menas.</p>
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Returbiljett till apornas planet : En studie om primär och sekundär adaptionKivimäki, Tomi January 2012 (has links)
The purpose of this essay is to study two film adaptations of the original Planet of the Apes novel and see what kind of relationship the two adaptations have with each other. The main question is if the secondary film adaptation is restricted by the primary and if the relationships between these two are as two separate adaptations or as a remake of an adaptation. What the results of the study show is that the secondary adaptation can not be seen as a remake even though it gets some of its inspiration from both the original story as well as the primary adaptation. The secondary adaptation is, however, restricted in what it can adapt due to the primary adaptation having the first pick, at least if the secondary adaptation wishes to be a whole new adaptation and not a remake of the primary. The study shows also that the fidelity in the secondary adaptation is not necessarily to either the original or the primary but to the knowledge the audience has about the Planet of the Apes universe which they have gathered from all of the important versions of the story. The essay also states that there is yet much to learn about the relationship between secondary and primary film adaptations which means that the field is still in need of exploration.
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Evangelistic Performance in New Zealand: The Word and What is Not SaidBond, Greta Jane January 2008 (has links)
In 1518, Martin Luther is reputed to have nailed his 95 theses to the door of the Castle Church at Wittenberg, an act that sparked the Protestant Reformation. Luther sought change in the Catholic Church: a return to an unmediated relationship with God based on a closer understanding of the Word. Since then, Protestant evangelism has been a force for social change: and this is particularly true in New Zealand, where evangelism has gone hand in hand with the colonisation of the country.
This thesis proposes that it is not, in fact, the literal understanding of the Word that gives these services meaning, and that such an understanding is problematic and perhaps even impossible: the Word is always a translation. Instead, it is through what is not said - the performative aspects of evangelistic services, including the use of space, the actions of the evangelist, and pre-existing cultural “horizons of expectation” - that meanings are produced.
Taking as material Samuel Marsden’s first service in New Zealand in 1814, in which the Word was preached in English to a congregation who primarily spoke only Maori, the more contemporary example of televangelist Benny Hinn, who performs miracles to television cameras, and the religious and political performances of Destiny Church’s Brian Tamaki, this thesis uses the tools of performance studies to undertake an ethnographic study of evangelistic services. This brings into focus the ways in which evangelists may create congregations and produce meanings in their services through different modes of performance and the ways in which these ulterior meanings impact, and have impacted, on New Zealand society.
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”Kryddan i maten” : Redesign av en kokbok / “Season in food" : Redesign of a cook-bookSkärby, Kim-Richard January 2009 (has links)
The purpose of this project has been to redesign an already existing cook-book. The title of the book (directly translated), “Season in food – the year around with herbs and spices”, contains what the headline imposes: spices, herbs and food. But when the author tries to entwine these parts and communicate it to the reader it is not working all to well due to a poor and inconsistent graphic design. I have followed the theories and values of information design when I redesigned the book layout with the intent to simplify the communication between author and reader. In the progress to make a complete dummie of the book I did multiple literature studies, book analysis, tests and a vast number of drafts. In this report I will describe the whole process from start to finish. It is impossible to explain every aspect of every theory and still make it interesting to read. Instead I try to explain the processes in a more comprehensive way. But details are inevitable and at those times it helps to use the appendix. / Mitt examensarbete har inneburit att göra en redesign på en redan befintlig kokbok. På bokensomslag står det: ”Kryddan i maten – året om med örter och kryddor” och den handlar om just detrubriken antyder: örter, kryddor och mat. Tyvärr har författarens syfte, att knyta samman dessa tvåbitar, gått förlorad i bokens inlaga. Detta beror på en inkonsekvent och ostrukturerad formgivning. Mitt arbete har varit att med hjälp av informationsdesignens regler och teorier göra om och styraupp bokens layout på ett sånt sätt så att informationen på nytt blir lättillgänglig för användaren. Föratt lyckas med det har jag förutom ett gediget skissarbete även utfört utprovningar, litteraturstudiersamt bokanalyser.I denna rapport avhandlar jag hur hela arbetsprocessen sett ut– från bakgrund till färdigt resultat. Rapporten har omöjligt kunnat behandla alla de frågor och tankegångar jag ställts inför utanbehandlar processen på ett mer övergripande sätt. Ibland beskrivs vissa moment detaljerat för attläsaren skall förstå, men genom bilagorna går det att snabbare få en förståelse för vad som menas.
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Plotting HorrorHeuer, Thomas 06 May 2019 (has links)
Die Entwicklungsschübe der modernen Medien im 20. Jahrhundert haben die Wechselbeziehungen zwischen den Künsten, den Medien, den Sinnesmodalitäten, den verbalen und nonverbalen Ausdrucks- und Zeichenprozessen verstärkt und erweitert. Im Zuge dieser Entwicklungen sind Genre- und Formatfragen über das disziplinäre Interesse einzelner Kunst- und Medienwissenschaften hinaus ins Aufmerksamkeitsfeld einer vergleichenden Medienästhetik und -dramaturgie ge-rückt.
Aufbauend auf den Erkenntnissen von Kalisch 2014, 2016 und den Überlegungen Gaudreaults 2009 zu einer Unterscheidung zwischen Narration und Monstration, ist es gelungen ein Modell zur Analyse von Werken unter dem Ausgangspunkt von Dramaturgie und Präsentationsstruktur herauszubilden, das für jedwedes dramaturgisch motiviertes und fiktionales Werk verwendet werden kann, unab-hängig vom Medium. Als Mittel zur Verdeutlichung der Thesen wird Horror als ästhetische Kategorie definiert, die einen direkten Einfluss auf die narrativen Strukturen eines Werkes besitzt, was den narrativ-monstrativen Doppelcharakter von Werken belegt und ferner verdeutlicht, dass Erzählung und Formung eines Werkes untrennbar verbunden sind. Die Dualität von Dramaturgie und Präsenta-tionsstruktur wird in der Formung eines Werkes offenbar. Um dies zu verdeutli-chen, werden im Verlauf der Arbeit kursorisch Beispiele von Werken mit Schre-ckensinhalten diskutiert und analysiert.
Basierend auf diesem Modell wird eine Diskussion des Themenkomplexes von Intermedialität und Transmedialität im Spannungsverhältnis zur Komparistik der Künste durchgeführt. In der Folge wird eine Ästhetik des Schreckens diskutiert und anhand von ästhetischen Wertungskategorien aufgezeigt. Abschließend werden drei narrativ-motivierte Konzeptionen für dramaturgisch angetriebene Schre-ckensinszenierungen aufgeführt, die zur Kategorisierung von Werken angewendet werden können: düstere Präfiguration, düstere Konfiguration und düstere Manifestation. / The development in modern media during the 20th century (from movies over television to the hybrid forms of audiovisual and textual media in the internet) reveals interdependencies between art, media, the modalities of senses, the verbal and nonverbal dictions and semiotic processes that have evolved and expanded themselfes. According to this progress the interest in art and media studies should achive a collective interest in the changes of genre and formats, instead of a sepa-rated observation of only single disciplines.
Following the Prolegomena on a comperative drama of media by Eleonore Ka-lisch (Kalisch 2014) and the thougts of André Gaudreault on Narration and Mon-stration (Gaudreault 2009) this thesis bulids a system to analyse works of fiction (e. g. movies, pictures, literature, video games). This system allows to analyse and compare works of fiction based on drama and presentation structure. The horror genre is used to show the mechanics of this system. Horror has a direct influence on the narrative structure of a work and manifests a duality of narration and mon-stration (Kalisch 2016), that binds drama and presentation to each other and shows the necessity of a separated consideration on both aspects. The duality of drama and presentation reveals itself during the modeling of a work of fiction.
Build on the system the discourse is open to discuss intermetiality and transmedi-ality and their influence on the field of interest. Furthermore, an aesthetic of hor-ror is defined by evaluation categories of aesthetic indicators. In the end three types of narrativ driven concepts of horror are revealed and discussed: gloomy pre-figuaration, gloomy configuration and gloomy manifestation.
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