Thesis (M.S.)--Boston University / The problem presented in the production of the motion picture film with which this thesis is concerned was that of conveying through the medium of the motion picture the idea that the function of a local health department is to serve the citizens of the community, and in order that it may better serve them, it is necessary for the citizens to understand and help the health department to perform its function -- giving the community better health.

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This PhD by practice is an attempt to understand personal archives through filmmaking, and the kind of knowledge we can extract from them as well as how we can connect them to a wider social and political context. These questions are the core of my research and are explored in their different ways through both the film/practice and dissertation. I have chosen to make a film about my absent grandfather and his lost relationship with my mother during Fascist Portugal between the 1940s and the 1960s. Family archives have been largely used in films as a way of documenting realities, in the same way as any other public archival footage. In this instance, I tried to explore family and official archives acknowledging their contradictions and omissions with a view to finding a new “way of knowing” that is more closely connected to our emotions. I believe we all own a family archive regardless of its form. I named this archive “the subjective archive” and in it, I include physical archives such as paper documents, photographs and films, as well as a more intangible archive, which includes our memories, the stories we tell and listen to (oral history) and our dreams. The progression of the film is closely related to my journey as I become immersed in the story and learn things through many layers of archive documents. As a conclusion, I argue that these invisible elements of the subjective archive contain truth independent of their indexical nature, whereas physical documents can mislead us.

<p>U radu su istražene brojne i različite veze između grada i medija filma.<br />Razmatrano je kako su filmski prikazi urbanih pejzaža postali njihov<br />integralni, neodvojivi deo i kako navedeno utiče na promene u sagledavanju<br />arhitektonskih prostora i urbanog okruženja, kao i na promene u načinu na<br />koji se sa istima stupa u interakciju. Kroz ispitivanje prikaza gradova u<br />filmovima, istraživani su tokovi urbanog razvoja i analizirane su i<br />interpretirane društveno-prostorne promene koje se odvijaju od početka XX<br />veka do danas u velikim evropskim i severnoameričkim gradovima.</p> / <p>The thesis explores numerous and different relations between the city and<br />film medium. It has been considered how cinematic images of urban<br />landscape have become their integral, inseparable part, and how this<br />influences changes in the perception of architectural spaces and the urban<br />environment, as well as changes in the way in which people interact with<br />them. By examining the representation of cities in films, urban development<br />trends have been studied and socio-spatial changes taking place in large<br />European and North American cities from the beginning of the 20th century<br />to the present day have been analyzed and interpreted.</p>

I researched the history of emotional trauma and its portrayal in modern media and Shakespearean plays and created a film based on my personal experience with the topic. This film utilizes Shakespearean song and monologue from Hamlet and Macbeth to narrate the inner journey of a girl working through emotional trauma. We follow her as she feels the impact of her trauma in her body and as she tries to hide it from her friends and maintain a normal facade. This film does contain a fictionalized portrayal of an anxiety attack, so viewer discretion is advised. This project does not claim to be a comprehensive and complete narrative for anyone dealing with emotional trauma: it is a deeply personal experience and affects every person differently. I drew inspiration from my own struggles with emotional trauma for this film and the reflection of my experience that I found in these Shakespearean monologues.

This thesis examines the four transitional Disney animated features of the 1980s The Fox and the Hound (1981), The Black Cauldron (1985), The Great Mouse Detective (1986), and Oliver and Company (1988)— in order to reassess the significance of this period in Disney history. The Walt Disney Studio is internationally hailed for its animated features produced over the last eight decades, however, the animated films released in the 1980s have been ignored and neglected due to the negative evaluations of scholars and historians who favor Walt’s era and the 1990s renaissance period. A closer examination of the films reveals that Disney was not in a dark age but one of experimentation, excisement, and exploration in contrast to the perceived notions. Each film contributed to Disney animation’s return including a generational shift in creativity, application of computer animation, casting a celebrity as a voice-artist, and the use of theme songs and popular singers. These contributions were technically, thematically, and aesthetically important in reframing Disney’s animated products for future audiences leading to the 1990s successes beginning with The Little Mermaid.

Notes on Solace is a reflection on my process as a director. In this writing I am tracing back all my inspirations from film, stage, and lived visual and sonic landscapes.

<p>The subject of my thesis is what I have chosen to call the “action babe cinema” of the 21st century, essentially action-movies featuring a female heroine in the lead role. Inspired by the theories of Vladímir Propp, author of Morphology of the Folktale, I have tried to reveal the underlying structure of these films. I have chosen eleven films which form my material, and from these extracted a number of functions (which means the actions of a character), that reoccur frequently. The heroines’ transformation can be seen as a central theme of the action babe cinema, and I have divided the films into two groups depending on the course of the transformation, either from soft to hard or the other way around. One of my findings is how there seems to be a constant need to explain the hard and tough characteristics of the female action-heroine, implying that it isn’t a natural trait for a woman. The functions have been further visualised and exemplified throughout the text, and I have found that the functions tend to be repeated in a similar pattern depending on which group they belong to. I also use the functions in an extended analysis of Kill Bill vol. 1 and Kill Bill vol. 2. The application of Propp is discussed and I present my point of view on the subject. Finally I discuss the results of my study, and what binds these films together and set them apart.</p>

<p>Filmbolaget Pixar har under de senaste femton åren legat först med att producera datoranimerad film. Bakom utvecklingen av den animerade filmen finns en tro på att kunna förändra. Jag vill i min uppsats se om idéer som dessa framträder i filmerna. Som utgångspunkt har jag använt Karin Johannissons bok <em>Nostalgia</em>, där begrepp såsom nostalgi och modernitet diskuteras. Dessa begrepp har jag sedan använt i min undersökning. Vill deras filmer föra vidare värderingar om utveckling eller representerar de något som de själva inte står för?</p> / Projektblock 8: Fördjupning i kultur och mediegestaltning

<p>This text deals with the shooting of a movie comedy. The author of this text was script writer as well as director. The film was extremely dependent upon the interpretation of the role of the leading female character, but the director and the leading actress, in spite of their willingness to cooperate, were unable to understand each other, and no creative meeting ever occurred.</p><p>The film dealt, in amused distance, with male and female strategies and shortcomings, but the lack of understanding between the director and the leading actress caused the subtleties of the text disappear, so that when the film was ready it was possible to interpret it in a way that partly opposed its intentions.</p><p>From the director’s point of view different aspects of the situation are investigated: what could she /should she have done? What are the obstacles for a better understanding? Is ”understanding” dependant only upon that which is verbal? Should the director not only be a director but also a kind of therapist? What is professional and what is private? Could a director who wasn´t also the script writer have seen other solutions? And how does it affect you as a female director never to have role models, only a very clear idea of what you <em>don’t</em> want your professional role to look like.</p><p>The director thought she was being constantly compromising, but finds out she was not, she had only a different, and in appearance, friendly but manipulative strategy in trying to reach her goal: that of enforcing and implementing her personal interpretation of the script.<strong> </strong></p><p>The role of director is also a role, and must be played. Men and women often do it in very different ways. Much more is permitted for men, in the name of”art.” The role of the artist is as such, defined by men. Women are expected to be reasonable and the (their) stage for action<strong> </strong>appears to be more limited. This is what is expected of them, and is also what many women try to live up to, often in direct conflict with their own interests. It is important to become a less reasonable but clearly defined person.  This often requires training. To become a good director you need knowledge, empathy and experience gained through many mistakes, and not least, you need what Aritsoteles calls fronesis.</p>