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  • 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.
21

A short film: Christmas Eve

Liu, Zuting 23 December 2013 (has links)
No description available.
22

Brutet Band : En undersökning av visuella metaforer i narrativ

Möller, Filip January 2022 (has links)
No description available.
23

In plain sight| Changing representations of "biracial" people in film 1903-2015

Gray, Charles L. 29 October 2016 (has links)
<p> Rooted in slavery, the United States in both law and custom has a long history of adhering to the one drop rule&ndash;the stipulation that any amount of African ancestry constitutes an individual as black. Given this history, decidedly mixed race people have been subjected to a number of degrading stereotypes. In examining the three broad themes of the tragic mulatto, racial passing, and racelessness in cinema, this dissertation asks to what extent film representations of mixed race characters have had the capacity to educate audiences beyond stereotypes. Although a number of film scholars and critics have analyzed mixed race characters in American cinema, there is no treatment spanning the last century that comprehensively analyzes each film&rsquo;s capacity to diminish racism.</p>
24

Sjukt kul med kärlek : Psykisk och fysisk sjukdom i 2010-talets romantiska komedier. / Love(sick) : Physical and Psycological Disease in Romantic Comedies of the 2010s.

Holm, Madeleine January 2019 (has links)
Syfte och frågeställning Psykisk och fysisk sjukdom är ett tema som under 2010-talet har dykt upp i ett flertal romantiska komedier. Studien utgår från denna motsägelsefulla förteelse. Med frågeställningen "hur används psykisk och fysisk sjukdom i relation till den romantiska komedins konventioner i narrativ, karaktär och komik i tre filmer från 2010-talet" är syftet att ta reda på just detta. Urval Urvalet gjordes utifrån specifika inklusionskriterier för att matcha studiens syfte. Filmerna behövde vara producerade under 2010-talet, kategoriserade och marknadsförda som romantiska komedier, samt inkludera minst en karaktär med någon form av psykisk eller fysisk sjukdom. Filmerna som valdes ut är Silver Linings Playbook (Du gör mig galen!, David O. Russell, 2012), Me and Earl and the Dying Girl (Alfonso Gomez-Rejon, 2015) och The Big Sick (Michael Showalter, 2017). Teori och metod Filmerna bearbetades genom en semantisk analys av den romantiska komedins konventioner med stöd av genreteorier från Altman och Neale. För beskrivningar av konventionerna i den narrativa strukturen, karaktärer och komik användes texter av Mernit. Resultat Konventionerna i den romantiska komedin var tydligt framställda, oavsett filmernas tema. Endast en film avvek så pass mycket från konventionerna att dess genreindelning kan ifrågasättas. Kärlek används både som en utlösande och förlösande faktor för psykisk sjukdom.  Sjukdom kunde också föra samman karaktärer och även stärka en redan existerande kärlek.
25

Folkets Bio och Kvalitetsfilmen : Kvalitetsbegreppet i den svenska filmbranschen / Folkets Bio and the quality film : The quality term in Sweden's film market

Negash, Yonathan January 2019 (has links)
This bachelor thesis takes the quality term about film from the Swedish Film institute’s founder, Harry Schein and puts it in a historical and present context. Quality films as Schein puts it will be analysed in relation to SFI and Folkets Bio’s national and local association, and through this the relationship between SFI and Folkets Bio will indirectly be analysed. To do this I had to put both SFI and Folkets Bio in a historical and present context where the quality term is in focus since the 1960s. The quality term is further explained with a couple of auteur theories by different film theorists because of the term’s close connection to one of Sweden’s or the world’s most recognizible auteurs, Ingmar Bergman. Because of Folkets Bio’s usage of the term in later years I found it to be a fleeting one that in the 1960s was not close to Folkets Bio, but has changed and is today a big talking point of the association. This allowed me to make a reception study based on reviews from film critics of different news outlets. Based on the insights of Janet Staiger’s reception theory on how film critics review art and avant-garde cinema, I picked three films that were distributed by Folkets Bio’s national association and screened at the local association of Växjö, Sweden. I also use interviews with two people working in the local association and the audience count for the three films that are analysed. My intention with this is to see how both the population and the local association of Växjö look at quality film. What I found was that the local association in Växjö did not want to market the films they are showing as quality film because of the term’s exclusion as something that is high cultured and not for the ”people” which Folkets Bio was meant for in their beginning in the 1970s.
26

El mero chingón : Mexicanness at large

Villegas, Valeria January 2013 (has links)
This thesis explores the discourse of Mexicanness and its relation to the moving image, pointing to the intellectual discussion it has been subject to since the beginning of the twentieth century. Further, it takes narcoculture as a relevant and recent phenomenon that has the capacity of confronting and reformulating Mexicanness by virtue of its hybridity. This dissertation draws from History, Latin American and Mexican studies to deconstruct and describe a thorough picture of the impact, popularity and pertinence of these narratives in Mexican exploitation and theatrical film, as well as soap operas, which act as cornerstones of the liminal discourse of drug-culture in this context. At the same time, it locates the melodramatic logics of narco film and music as vital for the construction of the modern notion of the Mexican drug dealer as an incarnation of contemporary and contradictory Mexicanness. This thesis points to the connection between Mexicanness, northern Mexican and transborder culture, highlighting the cross-cultural influences that meld in the border and northern states and comprise a rich landscape for theoretical analysis.
27

"American Mice Grow Big!"| The Syracuse Audiovisual Mission in Iran and the Rise of Documentary Diplomacy

Gharabaghi, Hadi Parandeh 18 April 2018 (has links)
<p> This dissertation investigates the coterminous emergence of imperial documentary operations and modernization programs in the United States during the 1940s and 1950s. It argues that the period saw a governing investment in documentary format and documentary "value," and that this was a response to the containment strategy of cultural diplomacy at the onset of the Cold War. It's focus is a mixed group of governmental and non-governmental entities. The project makes evident how a group of events and practices involved in foreign diplomacy campaigns of knowledge/intelligence and large scale overseas modernization programs give rise to a discourse of documentary diplomacy. The output of these projects was varied: locally-made rural training films; newsmagazine newsreel; travelogues, and the exported nontheatrical American documentaries. As the dissertation demonstrates, they were influenced by a weaponized ethnographic documentary experience, first formulated in Asia by Margaret Mead and Gregory Bateson in the late 1930s. The subsequent rise of governing investment in culture for imperial planning during the 1940s, large scale government experiment with training films during World War II, and governing investment in grassroots audiovisual movement of educational film in the United States all bear the marks of these knowledge/intelligence campaigns. The path to freedom, accordingly, became a bifurcating atomized process that ultimately reconceptualized geopolitically sensitive nation-states as people, as audiences, and eventually as individuals available to be freed from their own "hostile" and "uncooperative" governments on their way toward building bottom-up democratic movements. </p><p> Containment campaigns of defending American capitalism against Soviet communism in postcolonial nation-states led to a proliferation of instructional films throughout the world. These missions invested in local filmmaking and established pockets of documentary infrastructure that inevitably played some roles in the making and transformation of national cinemas. As a case study of the emerging discourse of documentary diplomacy, this dissertation also investigates American documentary operations in Iran during the 1940s and 1950s and demonstrates how US-Iranian media projects institutionalized documentary, audiovisual modernization, and media governance in Iran. The Syracuse documentary mission to Iran emerged as among the most important sites of such campaigns. For instance, the first generation of localizing newsmagazine series were made in Iran for Iranians by Iranian crew, using American planning, infrastructure and capital. With this convenient "usage," however, also came subscribing to an ideological package. Media producers and advisors from thirty-five American universities, under Syracuse University's binational contract with American and Iranian governments, participated in this work by 1959. </p><p> As this research project demonstrates, documentary diplomacy in this era brings into contact and coherence film and legal discourse, diplomatic policymaking, film practice, and applied social scientific research and intelligence production. In this respect, documentary diplomacy encompasses a set of events that include making documentary, mobile screening, expert viewing, national character research, applied anthropology intelligence work, survey trips, public opinion projects, courses of audiovisual and documentary training, and nation-building projects of central documentary infrastructure and media governance. </p><p> This dissertation argues that localized missions of overseas audiovisual training and documentary filmmaking and infrastructure during the 1950s operate through a propaganda facade of apolitical modernization by building on the governing strategy of welfare imperialism via invitation. In some cases, this went to extent of sponsoring anti-leftist localized newsreel campaigns of crushing local journalism and a wide range of objectifying practices. The village how-to films enforced a rapid modernization campaign while audiovisual training facilitated central education and governing. The dissertation also argues that the apolitical facade of the imperial documentary campaign in Iran is an expression of claiming fakery and manipulation in the name of the real. </p><p> The project draws from a wealth of declassified archival sources in the United States National Archives at College Park, the Library of Congress, the Archives of Rockefeller and Ford Foundations and other sources including individual memoirs and interviews. The archival sources include memoranda of film scripts, film receipts, correspondence, embassy notes, university and government contract, cultural manuals, immigrant interviews and a documentary bible of administrative film theory and production. </p><p> Following the case study of Iran, the dissertation extrapolates that researching the genealogical course of postwar imperial campaigns of documentary diplomacy in the Middle East and Asia can contribute to understanding of the transformation of modernization programs of central education, media cultures and media governance.</p><p>
28

Filmklipparens roll i Star Wars : Kraften i actionsekvenser / The editor's role in Star Wars - The force in action sequences

Fjällström, Robin January 2017 (has links)
Målet med denna studie är att undersöka om det finns några principer för hur actionsekvenser är klippta och om utvecklingen av ny klippteknik ändrat på sättet man klipper actionsekvenser i Star Wars eller om man arbetar för att behålla och återskapa samma emotionella klippkänsla som i de äldre filmerna. Studien är genomförd i form av två stycken analysmetoder, den första metoden bygger på Berry Salt's analysmetod för att få ut statistik över hur actionsekvenserna är klippta, genom att se hur många klipp det är i en sekvens och dela antal klipp med tiden som sekvensen utspelar sig under, på så sätt får man ut en så kallad "average shot lenght" (ASL). Den andra metoden är en bildanalys där jag undersöker hur man har arbetat med dramaturgin och informationen man ger publiken. Undersökningens ramverk bygger på Dancygers  (2011) kriterier för en actionssekvens och det innebär i korthet att en actionsekvens ska innehålla identifikation, excitation, en konfilkt och intensifiering för att en actionsekvens ska räknas som en actionsekvens. Undersökningens resultat visar på att de actionsekvenser som ingått i studien skiljer sig åt. Men det finns en del genomgående principer som gäller samtliga sekvenser och de är att varje bild ska ge information om var man befinner sig, vad det är som händer och vad som kommer att hända i nästa bild. Ur min studie kan man se att sekvenserna skiljer sig i tid, antal klipp och hur lång ASL varje sekvens har. Med hjälp av klippningen ska man ge publiken den information som dem behöver för att förstå berättelsen som projiceras framför dom. Utgår man ifrån hur Star Wars filmerna är klippta i en bransch som utvecklats under 40 år, då ser man hur man använt sig av en liknande klippteknik för att fånga publikens uppmärksamhet, föra berättelsen framåt och ge publiken rätt information.
29

En analys av rekonstruktionen i Arne Sucksdorffs dokumentärfilmer

Göthlin, Erik January 2009 (has links)
The purpose of this study was to analyze the reconstruction in two short-documentaries by Arne Sucksdorff. The films are analyzed both in a stylistic and symbolical way.
30

Vietnamkriget i film : Mottagandet i Sverige 1978–79 av den första vågen av filmer efter krigets slut / The Vietnam War in Film : The reception in Sweden 1978–79 of the first wave of films after the end of the war

Paulsson, Björn January 2020 (has links)
Denna uppsats undersöker relationen mellan amerikanska krigsfilmer om Vietnam och det samtida mottagandet av dessa i Sverige. Frågeställningen lyder: Hur mottogs den första vågen av filmer med anknytning till Vietnamkriget som nådde de svenska biograferna 1978–79? Den historiska receptionsstudien utgår från samtida tidningsartiklar och recensioner från Kungliga Bibliotekets arkiv för svenska dagstidningar som berör åtta utvalda filmer: Hjältar (Heroes, Jeremy Paul Kagan, 1977), Rolling Thunder (John Flynn, 1977), The Boys in Company C (Sidney J. Furie, 1978), Hemkomsten (Coming Home, Hal Ashby, 1978), Dog Soldiers (aka Who’ll Stop the Rain?, Karel Reisz, 1978), Deer Hunter (The Deer Hunter, Michael Cimino, 1978), Sista utposten (Go Tell the Spartans, Ted Post, 1978) och Apocalypse (Apocalypse Now, Francis Ford Coppola, 1979). Analysen genomförs utifrån tre specifika teman i receptionen: a) Den amerikanska krigsfilmsgenren i relation till nationell identitet, b) Krigsveteranernas möte med det civila samhället och c) Den etniska representationen av vietnameser. I resultaten framgår att samma film ofta bedömdes på olika sätt, vilket i många fall kan förklaras utifrån receptionsteoretiska begrepp. Skillnader i sociokulturell kontext och journalistisk ambition kan förklara viss variation. Det stundtals negativa mottagandet kan bero på att den svenska kontexten skiljde sig från den amerikanska, bland annat i synen på genre och nationell identitet, men även i fråga om representationen av vietnameserna i filmen. Att Vietnamkriget fortfarande var en infekterad fråga under slutet av 70-talet har en inverkan på alla tre tematiska analyser, där en generell tendens att politisera filmrecensioner tydligt framkommer i studien. Hur detta skiljer sig från mottagandet av senare decenniers vietnamfilmer, under ett annat politiskt samhällsklimat, är ett utmärkt ämne för fortsatta studier.

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