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<p> The process of writing music for a film involves preliminary discussions between the composer and filmmakers where decisions are made on how to create an effective score that supports the story. This project report explores the composition process of <i>Dead Man&rsquo;s Bluff</i>, a short film noir story directed by Franklin Guerrero, Jr., produced by Calvin Green, Sandra McCurdy and Matt Carmody. In this project, one musical motive representing the <i>femme fatale</i> character is used to create the framework for the entire score. Variations in the musical motive demonstrate nuances in the mood and tone of various scenes. The process of scoring a film also involves a stage of revisions from the filmmaker&rsquo;s feedback. Final stages of creating a film score involve mixing on a professional stage where the sound effects, music and dialogue volume levels are adjusted to perfect the overall sound.</p>

‘Towards Intercultural Documentary’ is a PhD by Published Work that is comprised of four documentary films, an exhibition catalogue essay and an academic book chapter to form a collective body of work in film and text focused on what Rughani proposes as ‘intercultural documentary practice’. This body of work configures ‘intercultural documentary practice’ as a space or arena in which people of radically different perspectives encounter the other.1 Intercultural documentary aspires to create pluralised spaces of exchange by engaging difference within and between communities. In this work, voices traditionally overlooked, excluded or edged to the cultural margins are re-framed to find a new centrality in a broader encounter, more accurately reflecting the diverse influences that comprise polyglot societies. In the United Kingdom (UK) context, three submitted films, broadcast to peak-time audiences on BBC 2 and Channel 4, stood in contradistinction to mainstream narratives that typically portrayed British experience as largely monocultural and homogeneous. The contribution to knowledge of this thesis is in deepening and extending the dynamics of documentary practice to embrace intercultural communication and to weld this to the ethics of documentary making. In so doing, this body of work situates ethics as central to the documentary encounter and offers new practice-based insights into navigating tensions in the process of making such work and its methodologies. ‘Towards Intercultural Documentary’ presents a case for the coherence of the body of work that makes a contribution to knowledge at the inter-disciplinary confluence of: documentary studies and practice, ethics and intercultural communication. The submission comprises: Islam and the Temple of’ ‘Ilm’ (BBC 2, 1990); One of the Family (Channel 4, 2000); Playing Model Soldiers (Channel 4, 2000); Glass Houses (British Council, 2004); the exhibition catalogue essay British Homeland in Home (British Council, 2004) and the book chapter ‘Are You a Vulture? Reflecting on the ethics and aesthetics of coverage of atrocity and its aftermath, in Peace Journalism (Peter Lang, 2010).

This thesis explores the relationship of Hindi film songs with Hindi cinema from the 1950s, especially emphasizing the present day. It is based on fieldwork completed in Bombay from 1998-2000 and the analysis of film songs and their picturizations. The main question addressed is: 'How far can film songs be seen as an independent tradition of popular music and how far are they a part of their parent films and Indian cinema?' Chapter 1 surveys previous scholarship on film songs and introduces their cinematic study. Chapter 2 deals with the production process of film songs, identifying the role of various personnel in their creation including the music director (composer), lyricist and singer(s). Chapter 3 addresses the musical style of film songs and its development in the light of both their cinematic and popular music roles. Chapter 4 turns to the use of Western music in film song from the perspective of meaning. Is Western music used in the same way in Hindi films as in Hollywood films, and if so, how, if music is not a universal language? Is the presence of Western music in film songs just due to hegemony? Song and background score material is analysed in its dramatic context, and Indian and Western music theory and interview material drawn on to answer these questions. Chapter 5 looks at the commercial life of film songs, addressing the question of whether songs sell films or films sell songs through an examination of the marketing and profitability of film songs in various eras. Chapter 6 discusses the reception of film songs, their popularity, how audiences come into contact with them, and their appropriation by audiences. Adorno's profile of mass music as alienating is revisited with reference to film song.

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This project argues for rethinking the western as a global genre, rather than one rooted in a particular construction of the American West. First, by considering the western's global origins through an examination of early cinema, I challenge the singular connection to an American origin. Through tracing an alternative history of the genre in early cinema, we can see that the assumed connections between America and the western can be challenged by way of examples from France, Argentina, and Australia. Moving to the post-war and contemporary periods, this project highlights the popular and political uses of the genre by way of examples from Germany, Latin America, Spain and Italy, and Australia. These case studies identify how considering the western as a global popular genre allows it to address local political concerns across a range of national and transnational contexts. To situate the different contexts, this thesis relies on the broad theoretical framework of transculturation, following Mary Louise Pratt, to consider how the western 'selects' and 'invents' from particular historical, cultural, and political moments, often as part of asymmetrical power relations. Each case study also seeks to provide a theoretical framework specific to the local context, such as the theories and practices of Third Cinema in Latin America, in order to suggest ways of addressing the western outside of Hollywood. By shifting the western away from a central origin point, this thesis shows how the genre becomes meaningful on a global scale in terms of key issues of identity, political critique, and representations of space.

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<p>This thesis claims that between 1928 and 1934, technological developments, along with cultural shifts in the acceptance of machines in American society, led the studio away from the abstract style of their silent films toward the naturalism that would work to create the illusion of the fantasy worlds of Disney?s full-length feature films.

This thesis explores the expansion of British television in the 1950s and 1960s and its relationship to social and cultural change. During this period, television developed into an industry and mass medium and this coincided with a cultural shift from a seemingly consensual society of post-war austerity to a society characterised by fragmentation, individualism and consumerism. By combining a re-examination of existing histories of British television with a discussion of television programmes and sociological theory, this thesis explores the complex relationship between the expansion of television and that social and cultural change. The thesis shows how television represented these changes, and how it presented competing discourses about consumer culture in a range of programmes including action adventure series, pop music and women's programmes. It also demonstrates how television promoted class and cultural conflict in its individual programmes such as situation comedies and dramas, and through juxtaposition of high and low cultural vales, themes and forms in its mixed programme schedule. By looking at issues such as intimacy, performance, authenticity and sociability, the thesis argues that television promoted its own status as an increasingly centralised cultural form. It proposes that television established social categories which became embedded and naturalised over time, and this created the potential to define social experience. The thesis therefore concludes that the examination of the expansion of television in the 1950s and 1960s is of importance for understanding the operation of media power today.