• Refine Query
  • Source
  • Publication year
  • to
  • Language
  • 25
  • 2
  • 2
  • 2
  • 2
  • 2
  • 2
  • 1
  • 1
  • Tagged with
  • 30
  • 30
  • 30
  • 6
  • 6
  • 5
  • 5
  • 5
  • 5
  • 4
  • 4
  • 3
  • 3
  • 3
  • 3
  • 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

Violence in motion pictures : a comparative study /

Leyshon, Michael W. January 1981 (has links)
Thesis (M.A.)--Ohio State University. / Includes bibliographical references (leaves 102-106). Available online via OhioLINK's ETD Center.
2

Film violence and aggression with five film conditions

Diamond, Stephen Ronald, January 1971 (has links)
Thesis (M.A.)--University of Wisconsin--Madison, 1971. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.
3

Effect of pre-film messages on viewer perceptions of slasher films

Bross, Michael Steven. January 1984 (has links)
Thesis (M.A.)--University of Wisconsin--Madison, 1984. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 96-103).
4

Violence as (masculinist) epistemic rhetoric : a case for Memento /

Avery, Robert, January 2004 (has links) (PDF)
Thesis (M.A.) in Communication--University of Maine, 2004. / Includes vita. Includes bibliographical references (leaves 90-97).
5

Violence as (Masculinist) Epistemic Rhetoric: A Case for Memento

Avery, Robert January 2004 (has links) (PDF)
No description available.
6

Tracing the heroine in masculine spectacle : gender, technology, and the role of the destroyer in recent American film

Ward, Katherine January 1992 (has links)
This thesis explores the changing relationship of power, technology, and gender in recent Hollywood films. Beginning with ideas of gender "truths" in philosophical thought, I posit that the representation of violence is inseparable from the notion of gender, and that ideas of gender are always historically specific. / I examine masculinity and aggression in Vietnam films, arguing that masculinity must struggle to renew its privilege and its illusion of purity. / Finally, I examine combat roles for women where the heroines have accessed "male" technology to become subjects of the social act. I conclude that these representations offer a possible female subjectivity and resistance to patriarchal assimilation only when the ambivalence and fragility of that subjectivity is recognized.
7

The narcissistic masculinity of Travis Bickle : American "Reality" in Martin Scorsese's Taxi Driver /

Pauw, Waldemar January 2006 (has links)
Thesis (MA)--University of Stellenbosch, 2006. / Bibliography. Also available via the Internet.
8

Violence in movies and aggressive play in children is there a connection? /

Bessinger, Sharon B. January 2005 (has links) (PDF)
Thesis, PlanB (M.S.)--University of Wisconsin--Stout, 2005. / Includes bibliographical references.
9

An investigation of the African subjectivity represented in Gavin Hood's Tsotsi (2006)

Siwak, Jakub January 2010 (has links)
This treatise will focus on a critical examination of Gavin Hood’s South African Oscar-winning film, Tsotsi (2006), in the interest of exploring how the mass media creates a problematic configuration of the subject, in virtue of its valorization of the continued discursive colonization of Africans (identified broadly in geographical rather than racial terms). That is, within the narrative of the film, the protagonist, after engaging in a crime spree, gives himself over to the state authorities and emotively confesses to his transgressions. Importantly, this dramatic confession is represented as a triumph of the human spirit – in the form of an autonomous rehabilitation on the part of the criminal. However, if one understands the protagonist as a subject constituted by what Foucault terms the discursive regimes of disciplinary/bio-power, what emerges into conspicuity is that the protagonist’s actions rather than being the result of his growing maturity and concomitant augmenting ‘humanity’ are the consequence of a set of discursive imperatives which render him docile and prostrate. Arguably, what this serves to represent, and, indeed, propagate, is more of a superimposition of Western cultural discourses on African subjects, and less of a negotiation with such discourses by such subjects. The treatise aims to provide a theoretical solution to the negation of alternative modes of being by disciplinary/bio-power imperatives inextricable from neo-liberal subjectivity. However, in its attempts to encourage cultural negotiation between North and South, the treatise will avoid simplistic, ‘orthodox’, Marxist solutions and will instead critically contend with the theory of Ernesto Laclau and Chantal Mouffe, and their perspectives on how radical democracy can be achieved.
10

Violence in Film: Narrative and Contextual Importance in Subjective Response

Petrunak, Denise 01 January 2005 (has links)
The effects of violent portrayals in the media have been well established and documented in the field of psychology. The research conducted in this area often report results that correspond with the widespread critical notion that these depictions of violence are harmful in their effect for samples of children, adolescents, and adults, usually due to the repeatedly observed result of increased aggression among these samples when exposed to these violent acts. The methodological protocol for most of these studies is to utilize film clips, instead of films in their entirety, and to create a "synthetic" narrative situation around these violent acts that directs the sample audience to perceive that the act was justified or unjustified. Limitations both in the methodology and in the literature in this area of psychological research become evident in their disregard of the large library of research and theory that exists in film studies, most of which can be grounded in psychological theory that discusses a semiotic structure in relation to thought processes as theorized by Sigmund Freud, Jacques Lacan, and Slavoj Zizek. Film studies have recognized that the cognitive psychological reactions of audiences to any given film are directed by the actual, full-length, narrative structure as intended by the director. Features, such as music, voice-over narration, metaphors, close-ups, etc., are tools used to create a narrative story which ultimately defines a context, mostly subjectively, for a viewer. This study makes notes of these limitations and utilizes a methodology that exposes participants to one of four defined contexts of violence, Unrealistic Context of Violence, Romanticized Context of Violence, Social-Consequential Context of Violence, and Nonviolent all of which projected the film in its entirety. A more integrative approach was taken to response questionnaires, which utilized both subjective and objective response categories. The purpose of this methodology is to support the notion that an intended narrative will guide the audience to a response based on how it defines a context through stylistic components. This type of narrative cannot, and has not in previous studies, be synthetically created by an experimenter to create a context that is to be applied to a film clip. Results of this study will be used to discuss the implications they have on censorship and future psychological research.

Page generated in 0.1531 seconds