No description available.

Thesis (M.A.) - Carleton University, 2006. / Includes bibliographical references (p. 124-132). Also available in electronic format on the Internet.

Thesis (Ph.D.) -- University of Rhode Island, 2009. / Typescript. Includes bibliographical references (leaves 224-233).

No description available.

No description available.

Thesis (Ph. D. in English)--Vanderbilt University, Aug. 2008. / Title from title screen. Includes bibliographical references.

Submitted by Luciana Sebin (lusebin@ufscar.br) on 2016-10-07T12:17:03Z No. of bitstreams: 1 DissFFAS.pdf: 15147709 bytes, checksum: 04e12638b9fc890c487e554cafcd3ea0 (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-10-13T20:01:59Z (GMT) No. of bitstreams: 1 DissFFAS.pdf: 15147709 bytes, checksum: 04e12638b9fc890c487e554cafcd3ea0 (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-10-13T20:02:09Z (GMT) No. of bitstreams: 1 DissFFAS.pdf: 15147709 bytes, checksum: 04e12638b9fc890c487e554cafcd3ea0 (MD5) / Made available in DSpace on 2016-10-13T20:02:21Z (GMT). No. of bitstreams: 1 DissFFAS.pdf: 15147709 bytes, checksum: 04e12638b9fc890c487e554cafcd3ea0 (MD5) Previous issue date: 2012-03-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Founded in Rio de Janeiro in 1928, the Chaplin-Club is considered the milestone of ciné-clubs and of film criticism in Brazil. Since the beginning of its activities, the club used to release O Fan, a vehicle dedicated to spread the group’s ideas. The objective of this dissertation is to analyze the activities of Chaplin-Club and its members’ reflections on cinema. Having as main source the nine issues of O Fan, this work aims to establish a dialogue among the different conceptions of cinema expressed by the club members and evaluate the set of concepts applied by them in the construction of their critical parameters, in order to present the particularities of Chaplin-Club’s thoughts and its specificity in the Brazilian context of the time. / Fundado no Rio de Janeiro em 1928, o Chaplin-Club é considerado o marco inicial do cineclubismo e de uma reflexão crítica mais aprofundada sobre o cinema no Brasil. Já no início de suas atividades, o cineclube lançou O Fan, órgão divulgador das ideias do grupo. O objetivo desta dissertação é analisar as atividades do Chaplin-Club e o pensamento crítico de seus integrantes. Tendo como fonte principal as nove edições de O Fan, o trabalho visa estabelecer um diálogo entre as diferentes concepções expressas pelos cineclubistas a respeito do cinema e avaliar o conjunto de noções aplicado por eles na construção de seus parâmetros críticos, a fim de apresentar as particularidades do pensamento do Chaplin-Club e sua especificidade no contexto brasileiro da época.

No description available.

Ce travail étudie le rapport entre le langage narratif cinématographique et le discours musical contemporain. Le point de départ en a été l’étude des nouvelles créations contemporaines écrites pour accompagner certains films de l’époque du cinéma muet. Pour atteindre ces objectifs, nous sommes partis d’une vision théorique, pour arriver à l’analyse plus concrète qui nous a donné les consignes de base pour créer notre propre modèle d’analyse applicable à la composition. Ce modèle permet de préciser les concepts nous permettant d´aborder la relation entre le film et la musique selon deux axes, que nous appelons respectivement « points d’ancrage » (qui traitent des points d’articulation du discours cinématographique avec la musique) et « points de référence » (qui gèrent les éléments formels du discours cinématographique et musical). Dans la dernière partie de ce travail, nous appliquons notre modèle à la réalisation de quatre projets personnels, qui représentent une « conclusion artistique » des éléments analysés au cours de cette recherche. / This work studies the relationship between the film’s narrative language and the contemporary music speech. The starting point of this work is the study of the new contemporary scores, which were composed for silent films from the 1920’s onwards. To reach these goals, we started from a theoretical vision, to subsequently perform a practical analysis. This gave us the important points to create our analysis model to be used for music composition. This model allows us to clarify the relationship between the film and the music, based on two main axes: the “anchoring points” (giving us the articulation points between the music and the film) and the “reference points” (which deals with the formal elements of both film and music speech). In the last part of our work, we have applied our model to the composition of four personal projects, which were created as an artistic conclusion of our research.

This project explores a curious facet of early cinema that has not been studied as yet: the relationship between Turkish modernity and the culture of spectatorship within the context of the late nineteenth century’s viewing habits along with the era of early and silent cinema in Istanbul. The aim of this project is to examine the evolution of viewing habits in Istanbul at a particular period in which a radical cultural transformation was experienced, namely from the 1890s to the 1930s, when the late Ottoman era with its pre-cinematic shows, the cinematograph, and silent films led to the early Turkish Republic and the end of silent cinema. In order to cover the shift in the reception of early cinema, this study makes use of revisionist works on early cinema and on modernity in Ottoman history. To this end, newspapers, novels, memoirs and consular trade records that formed the majority of the primary sources of this project are analyzed. The transformation of Istanbulite spectatorship was initially experienced through a rupture in the late nineteenth century created by the global flow of mechanical images. The cinematograph was viewed by a multi- ethnic public that was accustomed to seeing both traditional and other more widely recognized pre-cinematic shows such as the shadow play, public storytelling, dioramas, panoramas and magic lanterns. At first the early cinematograph displays were haphazard and parts of other shows. Yet, the international influence of the early cinema attracted a curiosity-driven public even if the same public was critical of the imperfect technology of the apparatus. With the outbreak of World War I, nationalist resistance played a role in the reception of popular European films, particularly Italian melodramas. The end of the war caused the demise of the Ottoman Empire and the foundation of the Turkish Republic, after which, cinema started to be seen as an educational tool in the service of nation-building.