• Refine Query
  • Source
  • Publication year
  • to
  • Language
  • 54
  • 44
  • Tagged with
  • 103
  • 103
  • 84
  • 17
  • 17
  • 17
  • 10
  • 9
  • 8
  • 8
  • 8
  • 7
  • 7
  • 7
  • 7
  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the 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.
1

Utvecklingen av digital compositing : Från att skapa konstgjorda verkligheter i kameran till att göra det digitalt

Grönlund, Sven January 2017 (has links)
No description available.
2

Competing Narratives in Contemporary Japanese War Cinema : Comparing representations of World War II and the military in four recent films / Konkurrerande narrativ i nutida japansk krigsfilm : En studie i representationer av andra världskriget och militären i fyra nya filmer

Vaughn, Benjamin January 2018 (has links)
In Japan, the question of how to best remember the events of World War II is often a politically sensitive issue. Japan has occasionally been accused of glossing over its history of war crimes and acts of aggression in textbooks, official statements and other areas. This essay looks at representations of World War II and the military in contemporary Japanese war films, and discuss how they deal with these necessarily political subjects. I use Akiko Hashimoto's categorization of Japanese war narratives - the hero, victim and perpetrator-narratives - to analyze and compare four movies released during the last five years. These movies are The Eternal Zero, The Wind Rises, Kancolle the Movie and The Emperor in August. I look at these films in the context of Japanese film history and current political debates around the role of the Japanese Self-Defense Forces and similar issues. Rather than any clear march towards nationalism, pro-militarism or any other political ideology, these films indicate that directors often avoid politically sensitive issues or taking explicit moral stances. There is often a lack of historical context to events portrayed. The dominant interpretation of history is the victim-narrative in Hashimoto's sense, while perpetrator-narratives are usually absent and hero-narratives are mostly visible in films that are heavily fantasy-based and removed from reality.
3

Filmmanusens funktion i Quentin Tarantinos bildspråk : Jämförelseanalys av två manus - Hateful Eight och Reservoir Dogs / Funktion of the screenplay in Quentin Tarantinos visual language : A comparative analysis of Reservoir Dogs and Hateful Eight

Buyukada, Utkan January 2018 (has links)
This essay is a comparative analysis of Quentin Tarantino´s first, Reservoir Dogs (Quentin Tarantino, 1992), and his latest screenplay, Hateful Eight (Quentin Tarantino, 2015). Focus of the essay is Tarantino as a screenwriter and investigates the correlation between visual intentions and formation of their effects on film. The starting point of the essay is a theoretical approach where the connection between screenplay and film is discussed as a continuous process. A description of the screenplay and the rules of its format precedes the analysis part of the essay. Focus on the analysis is the visual instructions in screenplay text and correlation between these instructions and the film. Two versions of each script will be used in the essay. The analysis is divided in three parts. First, the two different version of the screenplay will be compared separately; second, each script will be compared with the film and third, the two scripts from each movie will be compared with one and other. The conclusion of the thesis summarizes, the function of the screenplay in Tarantino´s work and discusses the possibilities for the screenplay in the filmmaking process and the complex relationship between script and film as well as the intentions of the script mirrored in the film.
4

Proceduralism, the Automated Artist

Jakobsson, Pontus January 2019 (has links)
No description available.
5

You get what you fucking deserve! : Karaktärsanalys av Joaquin Phoenix's porträttering av Joker / You get what you fucking deserve! : Character analysis of Joaquin Phoenix's portrayal of the Joker

Jonsson, Dan E January 2020 (has links)
Joaquin Phoenix gestaltning av karaktären Arthur Fleck i filmen Joker (Todd Phillips, 2019) prisades med en Oscar för bästa huvudroll. Filmen är en ursprungshistoria om den klassiska antagonisten till Batman och belyser de bakomliggande faktorer som bidrar till Arthur Flecks resa från offer till våldsverkare. Uppsatsen belyser utanförskap och hur det är att leva i samhällets periferi på grund av, men inte begränsat av, mental ohälsa, stigmatisering och normavvikande beteende. Den belyser också individens förhållande till maskulinitet och de förväntningar samhället har på denne i hur man skall agera och reagera. Todd Phillips målar upp en dystopisk tillvaro där staden Gotham är lika kylig och kall som dess palett, där våld är en del av vardagen och anses vara ett universalverktyg för att lösa diverse konflikter. Arthur är en skör individ som tvingas in i en våldsspiral (av flertalet olika anledningar) som till slut förgör honom, i hans ställe träder den våldsbejakande nihilisten fram: Jokern.
6

Comrades! : En kvalitativ undersökning om kommunistisk representation i samtida populärkultur / Comrades! : A qualitative study on communist representation in contemporary popular culture

Beigelbeck, Theresa, Thomasson, Hanna January 2021 (has links)
Syftet med studien är att undersöka hur kommunism och kommunister representeras i samtida populärkultur. Undersökningen utgår från tre filmer i olika genrer från 2000-talet som utspelar sig under perioder där samhället var kommunistiskt. Dessutom kommer karaktärer studeras för att se om det finns definierade kommunistiska karaktärsdrag och stereotyper i film. Den analysmetod som används i undersökningen är en kvalitativ textanalys för att hitta underliggande betydelser i materialet. Det teoretiska ramverk som valts för studien är semiotik, och undersökningen utgår från egna tolkningar av materialet. Den forskning studien utgår från involverar främst konstruktionen av stereotyper, men också representation av kulturer och kommunism i populärkultur. Resultatet av undersökningen visar att kommunism framställs som totalitärt och hierarkiskt, samt att det är brutalt och farligt. Liknande representationer framkommer i alla filmer trots skillnader i genrer, tid och plats. Dessutom visar resultaten att det förekommer en tydlig gemensam representation av kommunister, som är att de är lojala mot regimen de lever i. Dock finns det många olikheter av porträtteringen av karaktärerna, därav kan ingen typisk kommunistisk stereotyp fastställas. I två av karaktärerna som analyserats förekom det likheter så som våldsamhet och hotfullhet, men dessa karaktärsdrag återfanns inte i den tredje karaktären, som istället visade tydliga karaktärsdrag på omtänksamhet och vilja att göra gott i samhället.
7

Justice looks down on female victims or favors the bold| An ideological reading of select contemporary American films

Garcia, Ashley D. 10 September 2015 (has links)
<p> The themes of crime and justice have captured the attention of Americans for decades. These themes are frequently portrayed in Hollywood films. While these stories capture the attention of Americans, both young and old, they propagate messages about what justice is, how it should be accomplished, who should serve it, and who is worthy to receive it. These messages have important implications for how Americans come to understand the American criminal justice system and its procedures. Reflective of lived experience, films about crime and justice have often drawn upon the victimization of women as an exigency for telling tales about justice as related to females. <i>The Bounty Hunter</i> (2010), <i>The Girl with the Dragon Tattoo</i> (2011), <i> Les Mis&eacute;rables</i> (2012), and <i>Safe Haven</i> (2013) are analyzed using ideological criticism to reveal their ideological constructions of justice for women, what subject positions these films interpellate female audience members into, and how women, as interpellated by these ideologies, should engage in the criminal justice system.</p>
8

The android and our cyborg selves| What androids will teach us about being (post)human

Bodley, Antonie Marie 09 September 2015 (has links)
<p> In the search for understanding a future for our selves with the potential merging of strong Artificial Intelligence and humanoid robotics, this dissertation uses the figure of the android in science fiction and science fact as an evocative object. Here, I propose android theory to consider the philosophical, social, and personal impacts humanoid robotics and AI will have on our understanding of the human subject. From the perspective of critical posthumanism and cyborg feminism, I consider popular culture understandings of AI and humanoid robotics as a way to explore the potential effect of androids by examining their embodiment and disembodiment. After an introduction to associated theories of humanism, posthumanism, and transhumanism, followed by a brief history of the figure of the android in fiction, I turn to popular culture examples. First, using two icons of contemporary AI, Deep Blue, a chess playing program and Watson, a linguistic artificially intelligent program, I explore how their public performances in games evoke rich discussion for understanding a philosophy of mind in a non-species specific way. Next, I turn to the <i>Terminator</i> film series (1984-2009) to discuss how the humanoid embodiment of artificial intelligence exists in an uncanny position for our emotional attachments to nonhuman entities. Lastly, I ask where these relationships will take us in our intimate lives; I explore personhood and human-nonhuman relationships in what I call the nonhuman dilemma. Using the human-Cylon relationships in the reimagined <i>Battlestar Galactica </i> television series (2003-2009), the posthuman family make-over in the film Fido (2006), as well as a real-life story of men with their life-sized doll companions, as seen in the TLC reality television series <i>My Strange Addiction</i> (2010), I explore the coming dilemma of life with nonhuman humanoids.</p>
9

Berättandets utformning i transnationell actionfilm : komparativ studie av en kinesisk och amerikansk storproduktion / The construction of storytelling in transnational action cinema : a comparative studie of a major Chinese and American production

Bengtsson, Andreas January 2017 (has links)
This paper means to examine a Chinese language blockbuster in comparison to an American counterpart. The point is to examine the cultural differences and similarities in two similar stories produced in two different production environments. Two films that display both remarkable similarities and differences due to their respective cultural context of production. Here David Bordwell’s narratological schematics is applied to investigate how a Chinese film using a similar approach to Hollywood storytelling differentiates itself. In conclusion, the storytelling and plot construction are slightly less sophisticated in the Chinese film, and the reliance on computer generated imagery plays a bigger part than the physical performances usually associated with Chinese language action-cinema. The result of this study also highlight the differences in the depiction of the detective character and the analysis also raises the question of how we could attribute the cultural differences that emerges in this analysis.
10

The naked truth| An examination of gender bias in the field of acting

Chamberlain, Amberly 15 July 2016 (has links)
<p> This thesis exposes unconscious gender bias in actor training and the entertainment industry. Such exposure will aid teachers and industry professionals in identifying language and practices that perpetuate this prejudice, and ultimately, effect revisions, forging a new standard for good acting. I posit that images generated by an industry that continues to drive this bias through unequal opportunities for women, double standards, and the preeminence of the male gaze in cinematic practices, contribute to situating women as objects of desire, rather than as subjects who command professional equity and respect. I will introduce the science behind this long-standing problem and the need to reorient the brain toward gender equality, thereby offering means through which students, educators, and industry professionals can forge an equitable environment, one that empowers young women to take ownership of their presence in the entertainment industry and thus society&rsquo;s perception of them.</p>

Page generated in 0.1006 seconds