Thesis (M.S.)--Brigham Young University. Dept. of Instructional Psychology and Technology, 2006. / Includes bibliographical references (p. 40-42).

This practice-based research project explores modes of thinking and writing that are generated during and after my encounter with one film, Christopher Petit’s Unrequited Love: On Stalking And Being Stalked (2006). As opposed to a frame by frame analysis of film, this project explores how the anomalous affects and after-effects engendered by film, for example, the disorientations in time and memory produced by camera movement, might generate forms of ‘cinematic writing’. This project approaches these affects as an integral part of the film viewing experience, and asks how they alter the way we think, feel, see, remember, and write. What connections in thought and memory can be provoked and engendered by them? How can our experience of being captivated, disoriented, and absorbed by these filmic affects be enveloped by, rather then represented in, writing? With the aim of developing a practice-based written response to these questions, this project investigates the visual and text-based cinematic techniques used by three writers: William S. Burroughs, Don DeLillo, and Alain Robbe-Grillet. It establishes how cinema has impacted on and been used as a resource to alter and transform their writing practice. The central claim of my project is that the visual and text-based cinematic techniques used by these writers make a valuable contribution to the development of a practice-based mode of writing that is engaged with, but that is not representative of film. I call this mode of writing cinematic writing. This research project claims that a theoretical and practice-based investigation into the anomalous affects and after-effects generated by film could contribute to our knowledge of how film can alter and transform the way we think, see, feel, and write. It explores what cinematic writing does in being read/seen by a reader, and asks how cinematic techniques in writing could impact on and alter our conventional literary reading habits.

<p> Starting from a close analysis of <i>Christ in Concrete </i> by Italian American author Pietro di Donato, my thesis focuses primarily on di Donato&rsquo;s perspective on the main character of his story, Geremio and on Edward Dmytry&rsquo;s interpretation of the latter in his 1949 filmic adaptation of the novel. My aim is to demonstrate how di Donato&rsquo;s personal involvement in the story makes the character of Geremio an Italian American literary icon, while Dmytryk&rsquo;s interest with the political meaning of the story transforms the main character into a working class hero. After an analysis mainly focused on a male character, author and director, the last part of my thesis will instead be devoted to two Italian American literary figures, Pietro di Donato&rsquo;s Annunziata and Helen Barolini&rsquo;s Umbertina, in order to examine the Italian American experience through the female lens. </p>

Thesis (M.S.)--University of Wisconsin--Madison, 1965. / eContent provider-neutral record in process. Description based on print version record. Bibliography: l. [111]-117.

Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1981. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. VIDEOCASSETTE IN ROTCH VISUAL COLLECTIONS. / Includes bibliographical references. / The following retraces the path of a director tracing the path of a muse from early Spring 1979 through January 1981. What resulted was a form of psychodrama enveloping the cast, crew, and director in the making of an autobiographical feature film, "The Flower of Pain." As the lessons of life are learned through one's mistakes, the enlarging of these mistakes and personal failings onto a cinema screen affords both the illumination of motivation and the expiation of the past. The cinema can no longer be a place one goes to in order to escape but rather, a place one goes to in order to find oneself; one enters the cinema for repairs. Similarly, there is inherent therapy in the creative process, and this must be imposed onto the viewer. One must be able to take a film home and use it. To the extent that this kind of filmmaking is a communal act, it requires the development of techniques and refinement of skills that encourage the actor to live concentrated in front of a camera, confident that his own personal experiences, his traumatisms and philosophy, coincide with the film's design. / John Henry Gianvito. / M.S.V.S.

The primary objective of this creative project was to explore and analyze the centuries old technique of animation. The investigation of the material included both text and also visual material such as existing films, videos and interviews.This body of work consisted of a variety of animation techniques combined into one film, a zoetrope with five hand-drawn strips and various forms of merchandise (stickers, bumper stickers and a t-shirt) based on the animation.The goal for this project was to convey the idea that animation is an unlimited field that is always open to new and exciting innovations. The author wanted to express the technique, rather than a plot or some concept to the viewer, with the intent that the viewer will be inspired to also experiment with animation. / Department of Art

Thesis (M.A. (Digital Animation))--University of the Witwatersrand, Faculty of Humanities, 2016 / Time slicing is a film-based visual effect that refers to an enhanced simulation of time at variable speeds by creating the illusion of frozen or slowly progressing motion in time; it is most commonly digitally manipulated. This report will research and analyse how it can be utilized to amplify dramatic tension, or suspenseful situations in contemporary action films through theories, technology and various filming techniques. The theoretical methodology in this report is a historical account of the technology and process in the evolution of time manipulation within photography and film leading up to time slicing. Some Film theory is included in this report in a more conceptual manner as to why time slicing or slow motion is used in suspenseful situations, particularly in the action film genre. The report also demonstrates how the high standards of time slicing in feature films can be similarly achieved on a budget which will be demonstrated through a practical component that will compare a real time versus a time sliced scenario. While it would be preferable to use a full 360-degree array of cameras, the technology involved in time slicing has not yet reached a point where it is economically accessible to a student film maker and most local industries, which is why the focus of the research paper analyses a shorter array of cameras that is just enough to capture a time slice effect. The results will then be assessed based on dramatic tension/suspense to see if they equate to the theories of montage and mise en scène discussed in the research report. As a case study, the report will then compare a scene from The Matrix to that of a scene produced as part of the practical component in order to draw conclusions on quality and the possibilities of a lower budget set-up. / MT2017

Thesis (M.A. (Digital Animation))--University of the Witwatersrand, Faculty of Humanities, 2016 / This study aims to determine whether motion-captured animation is better suited for hyper-realistic or caricatured film aesthetics and whether it creates or breaks the aesthetics engagement for the viewer. This will be done by analysing how each aesthetic maintains or breaks 'suspension of disbelief' in viewers towards character engagement and identification. This paper specifically aims to report on a study of body motion capture, via attaching trackers only on the body and not on the face and fingers. Films used to critically analyse these ideas will be The Advantures of Tintin: The secret of the Unicorn (year) directed by Steven Spielberg to illustrate motion capture, which pertains to caricatured animated feature film aesthetics with caricatured designs. in comparison Beowulf (year) directed by Robert Zemeckis will be studied to demonstrate motion capture with hyper-realistic aesthetics. Motion capture has often been critiqued negatively for its depiction of human characters and their movement as having a disturbing appearance; which is mostly criticised as effects of the Uncanny valley- a phenomenon first introduced by Professor Masahiro Mori. There are currently 13 major motion capture animation feature films, such as Final Fantasy: Spirits within, final fantasy: Advent children, the polar express, Last order final fantasy VII, monster house, happy feet, Beowulf, A Christmas Carol, The Adventures of Tintin: The secret of the Unicorn, Mars needs moms, Happy feet 2, kochadaiiyaan, Space Captain Haddock. With the amount of motion capture being used in current animation features, especially with a local South Africa studio such as The Flying Circus using it as a means of saving costs on animation production, there needs to be an understanding of where motion capture is best suited depending on the aesthetic design of the film. This becomes especially imperative to animated films, because it has its own codes of depicting 'realism' that are separate to that of live action films that are discussed in details in the paper. To conclude, this study will aid in determining which aesthetic style provides better engagement through a critique of aesthetics the films chose to pursue and which keeps viewers succumbed to 'suspension of disbelief'. This will aid in determining whether motion capture is an appropriate method to creating animated movement for a particular aesthetic. / MT2017

Thesis (M.F.A.)--Ohio State University, 2009. / Title from first page of PDF file. Includes bibliographical references (p. 108-111).

Thesis (M.A.)--Victoria University of Wellington, 2009. / Includes bibliographical references.