Global ETD Search

11	Exile, authorship, and 'the good German' : a reconsideration of the screenplays and novels of Emeric Pressburger McDonald, Caitlin Elizabeth January 2018 (has links) Despite being an equal in the most significant partnership in British cinema, Emeric Pressburger has largely been overshadowed by his long term collaborator Michael Powell in both critical and academic studies. While there have been countless books on Powell and Pressburger as a team, those who have sought to separate the partnership have, until now, focussed almost exclusively on Powell. This thesis will attempt to redress the balance within Powell and Pressburger scholarship and attempt to break away from director-centric film studies. It will aim to examine Pressburger’s morally ambiguous characters, such as the recurring “good German” and his propensity to humanise characters who would normally be termed evil or corrupt, in conjunction with the central themes of displacement and exile within Pressburger’s screenplays and novels. The thesis will also utilise both unpublished and unfilmed material and demonstrate that the study of these works that exist only in archives provide a greater insight into the working practises of authors and filmmakers, while providing a valuable point of comparison to their more widely known works. Specifically, this thesis will address four separate aspects of Pressburger’s canon. First, it will discuss Pressburger’s war films which he made with Powell, which have suffered to an extent from neglect by many Archers’ scholars. It is clear that Pressburger’s key hallmarks and mirroring of his own experiences during the war can be seen to develop within these works and provide an ideal point of comparison with that of his later projects such as his novels. Chapter two will then examine the often overlooked filmed operetta, <i>Oh ... Rosalinda!! </i>(1955) along with Pressburger’s unfilmed screenplay <i>The Golden Years</i> (1951) a biopic of Richard Strauss, and provide a comparison to demonstrate the manner in which Pressburger’s love of opera overlapped with his development of complex characters and response to the war. Chapter three will analyse Pressburger two published novels, both of which have been largely ignored by both cinema and literary critics. Through the study of these novels, the difference in approach after the transition from screenwriter to novelist will be examined, along with the further development of his seeming neutrality in the portrayal of morally unsound characters. Chapter four will then focus on Pressburger’s two unpublished novels, <i>The Unholy Passion</i> and <i>A Face like England</i>, with consideration of Pressburger’s developing ideas of morality and forgiveness in his later years. In conclusion, by closely examining works that have been overlooked by Powell and Pressburger scholars, the thesis will shed new light on Pressburger, both as a filmmaker and an author and demonstrate the complexities of both his characters and his writing.
12	The Ending Needs Work AKA the Good, the Bad and the Ugly of being an independent filmmaker in Australia Catling, Aaron January 2005 (has links) Over the period of candidature, write and direct a feature film to completion. Furthermore, undertake a thorough reflective phase which involves the analysis of each aspect relating to those key components, writing and directing. Through this form of creative practice and utilising state of the art digital filmmaking techniques it is hoped that an addition to knowledge will be achieved. Filmmaker Australian film Camera coverage High Definition Casting Vision editing Independent film Directing/Director Actors Video Location scouting Sound editing Low budget features Writing/Writer Rehearsal Feature film Composition Screen performance
13	Conditional Truths: Remapping Paths To Documentary 'Independence' Lang, Ian William, n/a January 2003 (has links) (Synopsis to introductory statement): An introductory statement to five documentary films made by Ian Lang in Australia between 1981 and 1997 exemplifying a 'democratising' model of sustainable and ethical documentary film production. This document critically reflects on the production process of these films to accompany their submission for the degree of Doctor of Philosophy by Publication at Griffith University. It finds that a contemporary tendency towards 'post-industrial' conditions allows an observational film-maker to negotiate a critical inter-dependence rather than a romantically conceived 'independence' traditional to the genre. [Full thesis consists of introductory statement plus six DVD videodiscs.] documentary film Australian documentary low-budget film low-budget documentary documentary production documentary ethics ethical film Queensland film independent film-maker interdependent filmmaking interdependent production conditional truth independent film-making documentary truth post-industrial documentary democratisation of film sustainable documentary guerilla film guerrilla film indigenous film Aboriginal film 'Wheels across the Himalaya' 'Yallambee - People of Hope' 'This is what I call living' ' Grandfathers and Revolutions' observational film art documentary visual-arts film 'Judith Hewitson' 'Ian Howard' 'Swinburne film' 'SBS Independent' 'Queensland College of Art' Documentary Producer Documentary Director Australia Australian digital filmmaker digital documentary 16mm documentary cinema verite documentary history multiculturalism globalism ethnographic disability 'documentary impulse' micro-doc
14	The aesthetics of absence and duration in the post-trauma cinema of Lav Diaz Mai, Nadin January 2015 (has links) Aiming to make an intervention in both emerging Slow Cinema and classical Trauma Cinema scholarship, this thesis demonstrates the ways in which the post-trauma cinema of Filipino filmmaker Lav Diaz merges aesthetics of cinematic slowness with narratives of post-trauma in his films Melancholia (2008), Death in the Land of Encantos (2007) and Florentina Hubaldo, CTE (2012). Diaz has been repeatedly considered as representative of what Jonathan Romney termed in 2004 “Slow Cinema”. The director uses cinematic slowness for an alternative approach to an on-screen representation of post-trauma. Contrary to popular trauma cinema, Diaz’s portrait of individual and collective trauma focuses not on the instantenaeity but on the duration of trauma. In considering trauma as a condition and not as an event, Diaz challenges the standard aesthetical techniques used in contemporary Trauma Cinema, as highlighted by Janet Walker (2001, 2005), Susannah Radstone (2001), Roger Luckhurst (2008) and others. Diaz’s films focus instead on trauma’s latency period, the depletion of a survivor’s resources, and a character’s slow psychological breakdown. Slow Cinema scholarship has so far focused largely on the films’ aesthetics and their alleged opposition to mainstream cinema. Little work has been done in connecting the films’ form to their content. Furthermore, Trauma Cinema scholarship, as trauma films themselves, has been based on the immediate and most radical signs of post-trauma, which are characterised by instantaneity; flashbacks, sudden fears of death and sensorial overstimulation. Following Lutz Koepnick’s argument that slowness offers “intriguing perspectives” (Koepnick, 2014: 191) on how trauma can be represented in art, this thesis seeks to consider the equally important aspects of trauma duration, trauma’s latency period and the slow development of characteristic symptoms. With the present work, I expand on current notions of Trauma Cinema, which places emphasis on speed and the unpredictability of intrusive memories. Furthermore, I aim to broaden the area of Slow Cinema studies, which has so far been largely focused on the films’ respective aesthetics, by bridging form and content of the films under investigation. Rather than seeing Diaz’s slow films in isolation as a phenomenon of Slow Cinema, I seek to connect them to the existing scholarship of Trauma Cinema studies, thereby opening up a reading of his films. 791.4302

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