Thesis (Ph. D.)--University of Texas at Austin, 2004. / Supervisors: Robert H. Abzug and Thomas G. Schatz. Vita. Includes bibliographical references. Also available from UMI.

Thesis (Ph. D.)--Texas Christian University, 1998. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 320-331).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1968. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

This study is a textual thematic analysis that sought to identify recruiting themes embedded in a World War II combat film, Guadalcanal Diary (1943). The film was chosen on the basis of its representative ness of the combat films of the era. The study was completed through a deconstruction of the film, identifying scenes that contained either manifest or latent, recruiting appeals. The appeals were those Padilla and Laner’s 2001 study identified as the predominant themes used in 1942 recruiting posters. Additionally, the study examined the film using Carey’s (1989) theory of a ritual view of communication, a view that focuses on the role of communication acts in the maintenance of society over time. An historical context addressing the relationship between the federal government and Hollywood, and the Selective Service, voluntary enlistments and the armed forces, is included for clarification purposes. The film was found to exhibit both manifest and latent references to the four recruiting themes, which included a gain in status, recognition of patriotic behavior, adventure and challenge, and traditions and honor of the military. Further research is indicated in the areas of feature films and embedded recruiting messages, other forms of popular media during the war and recruiting messages, and the relationship between the draft and voluntary enlistments during war eras. / Thesis (M.A.)--Wichita State University, College of Liberal Arts and Sciences. / "May 2006." / Includes bibliographic references (leaves 77-83)

The present thesis represents the first major Canadian study to examine images of women in film. It concentrates on a body of film which was produced by the National Film Board of Canada (NFB) in its first decade (1939 to 1949). It is postulated here that the images of women in these films will reflect the position of women in the larger socio-economic context. We begin by looking at the status of women in Canada during World War II and the post-war years (1939 to 1949). Since there has been so little research on women during this period of Canadian history, and since the NFB is a government agency, we examine the House of Commons debates of this era as an index to women's status. We then examine the role of women in the NFB itself, with particular emphasis on the influence that women had in film production during the 1940's. Finally, we examine the images of women in the NFB films. We find that there are distinct differences in the films made by men and those made by women. The major difference is characterized by the fact that the images of women in male-produced films clearly reflect the patriarchal values of the society in which the films were produced, while the female-produced films do not.

Thesis (Ph.D.)--University of Western Australia, 2006.

Note:

No description available.

The subject of this doctoral dissertation is a thematic study of the representation of the Resistance in French fiction films since 1944. This work encompasses the larger fields of history and memory of the Resistance and the Second World War. It is a cinematographic historiography which explores 50 years of film production about the French Resistance. It analyzes the historical choices put forward by film, the censorship which had to be overcome, as well as the sources it used. It also examines how film contributes to the formation of historical consciousness. These developments are compared with the written history of the Resistance. The sources for this work include both visual and written materials: films, preliminary documents, censorship files, and film criticism. Nine interviews provide an additional aspect to this corpus. The parallel drawn between the historiography of the Resistance and the films allowed for a better understanding of the fluctuating relationship between film and historical studies. Also, the examination of this filmography from the perspective of women resisters permitted filmic analysis to move beyond the traditional and politically oriented evaluations of films based on Gaullist or communist memory.

No description available.