Zugl.: Tallahassee, Florida State University, Diss. / Hergestellt on demand

Teilw. zugl.: Wien, Universiẗat, Diss., 2003 u.d.T.: Ketzer, Johannes: Die Religion des Löwenkönigs.

Überarb. Diss.

This thesis addresses a neglected area of British national cinema history, presenting the first comprehensive study of Scotland’s incursions into narrative film production before the coming of sound. It explores both the specificity of Scottish production and its place within the broader cultural, political and economic contexts of the British film industry at key periods in the ‘silent’ era before and after the Great War. Early film production in Scotland has been characterised as a story of isolated and short-lived enterprises whose failure was inevitable. The work problematises this view, focusing instead on the potential for success of the various production strategies employed by Scottish film-makers. It demonstrates that producers were both ambitious and resourceful in the manner in which they sought to bring their films to local, national and international screens. Previously unknown markets for these films are also identified. In 1911 the first British three-reel film, Rob Roy, made in Scotland by a Glasgow production company, reached audiences as far away as Australia and New Zealand. Scottish efforts in film production, including the development of synchronised sound systems, were not haphazard but mirrored trends in the British and worldwide film industries until the late 1920s. With the coming of sound, the costs of commercial film production represented too great a challenge for the limited resources of Scottish producers. The study encompasses a detailed exploration of efforts in feature film production; how far these productions travelled and for whom they were made; the presentation and treatment of Scottish-made films by the trade press and local newspapers and their critical reception both at home and overseas. The majority of these films are lost, but close scrutiny of contemporary publicity and archival documents including business records has enabled a detailed picture to emerge of their content, nature and production background. Scottish stories and the Scottish landscape were important to the British film industry from its earliest days, and feature films shot on Scottish locations by outside producers are also discussed. Were these the films Scots would have made, if they could?

No description available.

A web series pilot about a young woman who attempts to lose her virginity before starting a job in sex education.

Thesis submitted 1967; degree awarded 1968. Thesis (M.S.)--Boston University, 1968. / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / This thesis is a study of the development of documentary films in Jamaica from 1938 - 1966, what has been accomplished, and how it has been achieved, as well as a critical analysis of the present situation and recommendations for improvements. The study should be of value to the country as it is the first that has been attempted in this particular field, and one of the few to be attempted by a Jamaican in the many areas of the country's development. [excerpt from Introduction]

My Perfect Little Doll tells the story of a fourteen year old girl, Jenny, who lives with her adopted parents and has a fascination with dolls. Her father is a troubled man who suffers from violent mood swings due to a work-related injury. He blames the world for his ailments. Jobless and home-stricken, Jenny's father is a frustrated individual who has built up anger and resentment over the years. Without proper medication, his problem becomes severe. His mood swings lead to abusive behavior toward shy Jenny, who constantly blames herself for her father's abusive ways. Through a flashback, we learn of the special relationship that Jenny has with Laura, a classmate. Laura feels a duty to help the powerless, which leads her into a friendship with Jenny. Eventually, Jenny invites Laura to her house to seek comfort during times of chaos. Upon arrival, Laura sees one of Jenny's father's violent mood swings and his ability to slip into abusive behavior. Eventually, Laura witnesses Jenny's father's physical abuse on Jenny and tries to convince her to leave. However, Jenny is torn between the love for her father who can be a loving, gentle man, and her own need for safety. This story weaves its tale with a mixture of pathos and hope. Based on a true story, this film draws from the multileveled emotions that the situation contains. The drama is framed in reality, where even the monsters have hearts. We learn that it is the victim as much as the perpetrator who denies the problem. But what will the victim do when offered a chance to escape...?

This paper provides a look at the making of a microbudget feature film. It seeks to explain my growth as a filmmaker and an artist, through the challenges, both narrative and practical, that I encountered, as well as provide documentation following the process. Hope for a Thorn: The Making of a Microbudget Digital Feature Film includes elements from each phase of filmmaking, from script and preproduction to the marketing plan. This document shows the tremendous amount of preparation and planning that goes into the making of a microbudget digital feature film.

No description available.