Thesis (M.A.)--York University, 2005. Graduate Programme in Communication and Culture. / Typescript. Includes bibliographical references (leaves 120-131). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://proquest.umi.com/pqdweb?index=0&did=1299817311&SrchMode=1&sid=14&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1195572105&clientId=5220

Thesis (Ph. D.)--Yale University, 1977. / Typescript. Includes abstract. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (v. 1, leaves 324-357).

Thesis (M.F.A.)--Montana State University--Bozeman, 2007. / Typescript. Chairperson, Graduate Committee: William Neff. Includes DVD. Includes bibliographical references (leaf 24).

Made available in DSpace on 2014-06-11T19:22:26Z (GMT). No. of bitstreams: 0 Previous issue date: 2013-07-02Bitstream added on 2014-06-13T20:48:58Z : No. of bitstreams: 1 martins_aa_me_ia.pdf: 3633470 bytes, checksum: 08cdca1ded22f08a56552c194a5bbce4 (MD5) / Na história do cinema a técnica do stop motion, também conhecido como animação por deslocamento, dificultava a padronização que a indústria impunha como regra, assim, foram praticamente eliminadas dos grandes circuitos e prosseguiram pela produção de artistas independentes que podiam experimentar técnicas e estilos, sem a necessidade da criação de rígidos conjuntos de regras de produção e sem ficarem presos à linguagem cinematográfica criada. A proposta desta pesquisa é entrar no universo dos animadores que criaram uma linguagem independente da usada nas animações de grande massa, trazendo para a atualidade a prática do stop motion como técnica artesanal de animação. Como prática produzimos e realizamos cinco curtíssimas, sendo os processos e procedimentos mais relevantes do que as obras em si, porque neles encontramos a construção do pensamento que os tornaram possíveis, ilustrando a diferença entre aquilo que se concretiza como filme e o seu projeto idealizado / In the history of movie making, the stop motion technique - also known as animation by displacement - hindered the pattern imposed by the industry as a rule, therefore it was practically eliminated from the big circuits and its production continued only by the efforts of independent artists who were able to experiment techniques and styles without following a rigid set of production rules, being free to explore the cinematographic language. This research intends to enter the universe of the animators who created an independent language from those used in the industrial circuits, bringing the current practice of stop motion as a craft technique and labelling the animation as a cinematographic and artistic practice. The stop motion as a creative reflection of how it would be possible to give thoughts new meanings of expression by the observation and description of the whole creative process

Shunij Iwai is a significant director of the Japanese New Independent cinema, who is best known for the fascinating visual style he adopted from the 1990s onwards. Rejecting the obsession with Japaneseness in Japanese cinema, Iwai developed a unique style of aestheticism through the use of backlighting, a technique he refined in partnership with cinematographer Noboru Shinoda. In existing academic studies on backlighting, cinematic lighting has generally been understood as a representational element that works to fulfill the needs of narration. Examples of such studies include Sharon A. Russell's (1981) semiotic study on the lighting style of French cinema, Patrick Keating's (2010) discussion of lighting convention in classical Hollywood cinema, and Lara Thompson's (2015) analysis on the use of light as a narrative tool in narrative cinema. By contrast, lighting in Shunji Iwai's films works in a different way. This difference prompts me to review the general conceptualization of cinematic lighting and turn to a materialist perspective, a non- representational attempt to study the sensation of lighting in cinema. By adopting Deleuze's concepts of cinema and sensation, this project provides an analytical trajectory for studying lighting in cinema. I argue that lighting as an aesthetic materiality renders a new understanding of the film world of Shunji Iwai as something derived from the Deleuzian poetics of sensation. This argument can be a starting point for critically rethinking lighting as a means for producing a circulation of cinematic affects.

In 2006, President Felipe Calderón Hinojosa mobilized the Mexican military into high risk zones which, along with the ongoing battle between drug cartels for territorial control, unleashed a wave of violent crimes toward the civilian population. As a response to the overwhelming amounts of violence that the Mexican people were exposed to, filmmakers started producing movies that revolved around the havoc wreaked by the cartels during the Drug War and represent how it affects Mexicans on a daily basis. This thesis comprises a detailed study of the three most representative film works that depict the narco-violence taking place in Mexico produced during and after Calderón’s government: Amat Escalante’s Heli (2013), Gerardo Naranjo’s Miss Bala (2011), and Luis Estrada’s El Infierno (2010). In each film, the directors expose the bloodshed and political and societal corruption caused by the Drug War This thesis analyzes each director’s attempt to raise awareness of the way the Drug War affects civilians through their narrative and visual styles and their use of graphic violence to disturb viewers and inspire them to reform the country.

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Diploma thesis deals with public financing of Czech cinematography from 1989 to the present, focusing on state funds. It outlines the economic aspects of public support of this specific area and puts film into economic theory of goods and into the concept of cultural and creative industries. It also describes the legislative development up to the present Audiovisual Act, by which the State Cinematography Fund was established. The paper analyzes the structure of the Fund, its activities and its funding. Another object of the research is the development of financing of cinematography support. The thesis identifies sources of funding to support the film, and for what purposes it has been spent. For comparison it provides a brief overview of support in Europe and the description of support schemes in Great Britain and France. Main goal of the thesis is to evaluate the development and current state of public support for the film.

(In English) The diploma thesis is about the nationalization of Czechoslovak cinema from the beginnings of reflections and preparations that led to this step, to the debates and institutional steps that occurred after the adoption of Decree No. 50 on measures in the field of film in August 1945. The thesis perceives the issue of nationalization of cinematography as a process in which the political and social changes that affected Czechoslovakia during the 1930s and 1940s were reflected. The aim of the work is to find out what circumstances led to structural and property changes in cinematography, and what these changes meant for Czechoslovak film. The thesis will be based on archival materials, periodicals and professional literature.