Leaves on Trees is a 16-minute narrative film about a young boy who gets prescription glasses for the first time. The following report recounts the process of conception, pre-production, production, and post-production undertaken to produce the film. It discusses the hardships and successes of the project and posits a goal for the future. / text

The Spectator of Modernity is a practice based thesis that investigates the process of Film Reception from the perspective of the film as experienced by the individual and her/his apprehension of the interaction between the fictional world on screen and the everyday world. The written component of the project positions the historical context and explores the theoretical notions for the understanding of film-viewing as a decidedly modern activity of special significance for the individual's permanent quest for meaning. Accompanying the written element, an original audiovisual piece amalgamates the real life testimonials of memorable film experiences which form the qualitative analysis of the research, with the story of a fictional character wandering in the location of the city. The activity of the character, driven to investigate the memorable film experience and in permanent search for a way to reengage in a meaningful relationship with everyday reality, is argued that is analogous to the activity of film-viewing. Following the considerations of the theory and the findings of the qualitative analysis of the project, the audiovisual piece suggests that watching a film is as a form of flanerie carried out inside the cinema, through which the individual seeks to assign meaning to the transient and fragmented events of modern life.

This thesis reveals and explores contemporary relationships between film education, film industry and film culture within a UK context through a series of interviews, data analysis, historical research and international case studies. It highlights what appear to be binary oppositions within film such as divisions between theory and practice, industry and academia or art and entertainment and interrogates how they have permeated film education to the point where the relationship between film studies and film practice is polemical. Also, the thesis investigates how a relationship between two binary areas might be re-­engaged and it is within this context that this thesis addresses contemporary issues within UK higher education and national provision of film education. There is detailed analysis of UK film policy alongside the philosophies and practicalities of filmmaking to establish how connected the practice of filmmaking is to the film industry and national strategy. An international perspective is provided through the analysis of the film school systems in Denmark and the U.S. and this postulates potential future directions for UK film education, particularly within the university sector. A main focus of the thesis is to question film education by engaging with the voices of actual filmmakers and also via data analysis of the educational background of filmmakers as a way of developing film education. The thesis is undertaken at a time of major changes across film and higher education. Film production, distribution and consumption have undergone major technological evolution and the structures that were once in place to facilitate graduate movement into the workplace are changing and shifting. Simultaneously the identity of the university as a place of skills training or critical development is under consistent scrutiny. With this in mind this thesis seeks to engage with the potential future for film education.

Zugl.: Bochum, Univ., Diss., 2003

No description available.

This thesis is a retrospective analysis of British social realism. It combines conventional academic research with professional screenwriting practice in the genre. By definition, at its advent Social Realism employed documentary realist devices to explore the inequalities of society with the objective of stimulating socio-political debate about this imbalance and thus social reform. However, contemporary forms of social realism have emerged much more depoliticised, drawing on similar subject matter but using decontextualised narrative strategies. The commitment to truth now seems to consist of an aesthetic, as opposed to a sociological imperative.

Sammanfattning: The Lord of The Rings-trilogin slog världen med storm då första filmen kom ut år 2001. J.R.R Tolkiens böcker var väldigt omtyckta och framförallt omtalade men det hade aldrig funnits icke-animerade filmer på dem. Peter Jackson tog på sig att skapa filmerna och klarade detta åtagande väldigt bra. Däremot var kvinnorollerna, precis som i böckerna, väldigt små och inaktiva. Detta är därför någonting jag valt att ta upp i min uppsats. Kvinnornas roller i jämförelse med männens. Uppsatsen jämför de olika rollfigurerna mot varandra och deras roller överlag i specialversionerna av filmerna.

<p>Sammanfattning: The Lord of The Rings-trilogin slog världen med storm då första filmen kom ut år 2001. J.R.R Tolkiens böcker var väldigt omtyckta och framförallt omtalade men det hade aldrig funnits icke-animerade filmer på dem. Peter Jackson tog på sig att skapa filmerna och klarade detta åtagande väldigt bra.</p><p>Däremot var kvinnorollerna, precis som i böckerna, väldigt små och inaktiva. Detta är därför någonting jag valt att ta upp i min uppsats. Kvinnornas roller i jämförelse med männens. Uppsatsen jämför de olika rollfigurerna mot varandra och deras roller överlag i specialversionerna av filmerna.</p>

Zugl.: Giessen, Univ., Diss., 2008

Zugl.: Coventry, Univ. of Warwick, Diss.