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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.
1

Reality Bytes| Reclaiming the Real in Digital Documentary

Landesman, Ohad 27 April 2013 (has links)
<p> This dissertation offers a preliminary survey of different documentary practices in the digital age. I recognize and discuss several recent modes of filmmaking where documentary and fictional spaces collide and coalesce, modes which existed long before the arrival of the digital, but have been rejuvenated and made more prominent in the digital age. I point to how such a collapse of boundaries is celebrated rhetorically via digital technology to produce a contingent documentary argument made of ontological, epistemological and aesthetic contradictions. The impact of digital technology on the development of such current documentary rhetoric is explored by placing it within the historical context of earlier technological assimilations in documentary (particularly 16mm film and video cameras). By countering dominant arguments about epistemological doubt in the age of digital manipulability, I show how new digital technologies are currently refining the documentary aesthetically and sharpening its argumentative rhetoric. </p><p> I begin by challenging the dominant scholarly tendency that regards the introduction of digital technology into documentary practices through a binary, sensationalist prism. Thus, in chapter one I propose to treat digital technology not as a radical novelty in film with either utopian or dystopian results, but as a transition that forms a complex network of continuities and hybridities with previous technological assimilations and earlier documentary traditions. Chapters two through four illustrate this by describing how the digital refines or extends earlier documentary practices and traditions, whether these are observational, participatory, reflexive, performative or hybrid. Chapter two focuses on the emerging form of the doc-fiction hybrid, and focuses on how digital cameras have contributed to the formulation of a challenging interplay between fiction and documentary for almost two decades. In chapter three, I explore the meeting point between the digital and the essay film tradition, arguing that the former revitalizes essayistic tendencies which have existed in cinema for years, and which were instigated time and again with the arrival of different technological innovations. In the fourth I turn the focus from the photographically-indexical digital image to the computer-generated animated image by discussing the long-lasting tradition of the animated documentary.</p>
2

Aesthetics of the "third way": Realisms in the modern European cinema

Donelan, Carol Ann 01 January 1998 (has links)
Lukacs has addressed the problem of how to portray the complete human self in relation to nineteenth-century European literature. Between the aesthetics of naturalism and psychologism, realism, he argues, represents a "true, solution-bringing third way." Naturalism fails to portray the complete human self because it depicts social being at the expense of private being; similarly but conversely, psychologism fails because it depicts private being at the expense of social being. Realism represents a solution to the problem because it renders both the social and private being of characters.^ Although Lukacs arrives at a notion of realism based on close readings of novels by Balzac and Tolstoy, I believe his approach can contribute to our understanding of aesthetics in the modern European cinema. Implicit in Lukacs's approach is the dialectical triad of thesis, antithesis and synthesis; naturalism and psychologism are synthesized to produce realism. I adopt the form but not the content of this triplicity in order to argue that various realisms in the modern European cinema--the "neo-neorealisms" of Fellini and Pasolini, the "spiritual realism" of Bresson, the "theatrical realisms" of Godard and Fassbinder, and the "neorealistic expressionism" of Herzog--are the result of syntheses between various objective and subjective aesthetics. There is not just a realism, as Lukacs implies; nor is realism necessarily a synthesis of naturalism and psychologism. Rather, I argue that there are multiple, historically-contingent realisms, all of which are the result of syntheses between objective and subjective aesthetics--whatever those aesthetics might be. In addition, I argue that filmmakers in the modern European cinema are motivated to employ "both/and" as opposed to "either/or" aesthetics for the same reason as their nineteenth-century literary counterparts: they are striving to portray the complete human self. And yet, they are undertaking this task at a time when the notion of a complete human self is no longer theoretically tenable. Thus, in addition to considering how each filmmaker portrays (or attempts to portray) the complete human self (even if only from the standpoint of irony or nostalgia), I also consider why the notion of a complete human self is (still) compelling. ^
3

Accounting for taste: Film criticism, canons, and cultural authority 1996--2006

Lupo, Jonathan D 01 January 2007 (has links)
This dissertation examines the space of U.S. film criticism between 1996 and 2006 and the effects of shifting taste hierarchies and diffusion of cultural authority of critics during this time. I argue that the taste hierarchies which marked much of U.S. culture in the twentieth century - such as highbrow, middlebrow, and lowbrow - are increasingly amorphous due to transformations in art, society, and cultural evaluation since the 1960s. Film, which has always straddled high/low categories, continues to be at the center of these alterations. In the 1960s and onwards, understandings of art and mass culture became more pluralistic and views of criticism as a respected social utility declined. These changes in attitude were coupled with an increased reliance by the public on more communal and consumer-oriented forms of authority, such as box-office figures and polls. As notions of art (and film as art) were democratized, film criticism was decentralized, which contributed to the erosion in the cultural authority of film critics. I trace these permutations between 1996-2006, a time which was marked by continually renegotiated ideas of taste and an industrial increase in niche marketing and subcultural appropriation. In addition, U.S. film culture began to feel the effects of a long-simmering splintering into three distinct, often insular, and sometimes antagonistic discourses: the film industry, journalistic film reviewers, and academic critics. ^ First, the project assesses film criticism's shifting role in the increasingly mutable bounds of cultural taste hierarchies, then details changes in the how the industry dealt with critics, and the perceived gap between the tastes of the public and that of critics. The study then examines examined how the internet engendered a democratization of film criticism by fostering a new generation of non-professional fan-critics who challenged professional critical hierarchies, while also opening up new avenues of distribution to and communication with readers for professional critics. Finally, the dissertation discusses issues of contemporary canon-making in popular and academic fields, and their impact on the idea of a collective film history. ^
4

Masculine domination and infantile phantasy: A Kleinian analysis of the Hepburn-Tracy film cycle.

Kilker, Robert F. January 2010 (has links)
Thesis (Ph.D.)--Lehigh University, 2010. / Advisers: Dawn Keetley; Alexander Doty.
5

From Boyz to the banlieue race, nation, and mediated resistance /

Edwards, Tonia M. January 2008 (has links)
Thesis (Ph.D.)--Indiana University, Dept. of Communication and Culture, 2008. / Title from PDF t.p. (viewed on Jul 23, 2009). Source: Dissertation Abstracts International, Volume: 69-11, Section: A, page: 4161. Adviser: Joan Hawkins.
6

Radical form, political intent delineating countercinemas beyond Godard /

Kinsman, Robert Patrick. January 2007 (has links)
Thesis (Ph.D.)--Indiana University, Dept. of Comparative Literature, 2007. / Title from PDF t.p. (viewed Nov. 20, 2008). Source: Dissertation Abstracts International, Volume: 68-03, Section: A, page: 0772. Adviser: Joan Hawkins.
7

Radical form, political intent : delineating countercinemas beyond Godard /

Kinsman, Robert Patrick. January 2007 (has links)
Thesis (Ph.D.)--Indiana University, Dept. of Comparative Literature, 2007. / Adviser: Joan Hawkins.
8

State of the art special effects in United States Blockbuster franchises /

Rehak, Robert John. January 2006 (has links)
Thesis (Ph.D.)--Indiana University, Dept. of Communication and Culture, 2006. / "Title from dissertation home page (viewed July 12, 2007)." Source: Dissertation Abstracts International, Volume: 67-10, Section: A, page: 3631. Adviser: Barbara Klinger.
9

La narrativité au cinéma : une étude du mythe de Faust.

Mathur, Chandrika. January 1992 (has links)
Le point focal de cette these sera ce recit particulier qu resulte de l'interaction du caractere polyvalent du cinematographe et des contraintes que ce medium impose. Des ses debuts, le septieme art a largement emprunte a des traditions litteraries, theatrales, musicales, et picturales, mais s'est forge petit a petit sa propre tradition narrative en adaptant celles-la a sa specificite spatio-temporelle, ethique et cognitive. Le contenu ainsi que la forme, les articulations, et les enjeux de ce recit "polyphonique" (au sens concret) du film constitueront le corps de notre interrogration sur la narrativite cinematographique. Etudier la narrativite reviendra donc a tenter de degager les articulations principales de cette succession d'etats et de transformations. Nous tacherons de demontrer comment et dans quelle mesure la specificite technique et esthetique du cinema, ainsi que les conditions de reception du film determinent les structures narratives propres a celui-ci, privilegient certaines peripeties au detriment des autres, imposent le choix de certains themes plutot que d'autres. En effet rien au cinema ne "va de soi" alors qu'en regardant un film le spectateur a souvent l'impression d'etre en presence d'un monde tout a fait naturel voire "reel". Demystifier ce "naturel" du recit cinematographique, devoiler son intentionnalite--c'est a dire les choix narratifs de contenu et de forme, analyser ses fondements specifiques en rapport avec la visee esthetique et ideologique de son realisateur est la tache que nous nous proposons de faire dans cette these sur la narrativite au cinema. Et ceci contribuera, a notre avis, a l'epistemologie generale de la specificite du mode narratif au cinema. C'est la "forme du recit" qui nous interesse. Aussi avons-nous cru pertinent d'avoir un corpus continu, qui, tout en presentant une thematique commune et une base de peripeties comparables, permettrait de voir un echantillon important des variantes narratives d'une seule problematique tant au niveau de succession de peripeties qu'au niveau de formes dont celles-ci peuvent se revetir. C'est dans cette perspective que nous avons choisi le mythe de Faust comme theme reliant les films de notre corpus. (Abstract shortened by UMI.)
10

FILM SEMIOTICS PUT TO EMPIRICAL TEST: LEONE'S WESTERN TRILOGY

Unknown Date (has links)
Source: Dissertation Abstracts International, Volume: 37-10, Section: A, page: 6114. / Thesis (Ph.D.)--The Florida State University, 1976.

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