Thesis (M.S.)--University of Wisconsin--Madison, 1967. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (Ph.D.)--York University, 2004. Graduate Programme in Sociology. / Typescript. Includes bibliographical references (leaves 459-482). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pNQ99213

Thesis (MA)--University of Stellenbosch, 2007. / Bibliography. Also available via the Internet.

Thesis (Ed. D.)--Teachers College, Columbia University. / Typescript; issued also on microfilm. Sponsor: Louis Forsdale. Dissertation Committee: Stephen Kerr. Bibliography: leaves 320-334.

Thesis (Ph. D.)--University of Chicago, 1996. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 261-269).

Thesis (M.S.)--University of Wisconsin--Madison, 1962. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

This PhD explores questions of cinematic affect and its relationship to mimetic experience. Through an examination of cinematic materiality, it argues that film must be inscribed across the sensorium if it is to arouse affective experience for the spectator. Drawing on Miriam Hansen’s readings of Walter Benjamin and Siegfried Kracauer, the thesis argues that cinematic affect can most productively be understood in film as a process of mimetic innervation. The thesis is comprised of seven published essays and an overarching chapter. The introductory chapter, ‘A Paradigm Shift in Film Studies’, situates the published essays in the context of recent debates about embodied spectatorship and affect, arguing the need for a revision of key paradigms of film theory. The first series of essays argues the centrality of embodied affect to cinema spectatorship, and proposes a nexus between mimetic visuality, affect and mise-en- scène, linking the analysis of mise-en-scène to Kracauer’s discussions of cinematic materiality. The essays extend this nexus to rethink genre through the lens of affective mimetic experience, arguing that both genre and visual style work mimetically. The arguments are explored through studies of the work of Mizoguchi Kenji, Theodorus Angelopoulos and Lee Myung-Se. The second series examines spectatorship in documentary cinema, raising questions about historiography, embodied knowledge, inter-cultural dialogue, and the affective elements of cultural specificity. The essays interrogate the universalist claims of conventional documentary form, and its assumptions of a disembodied spectator. They contest the assumed opposition in documentary theory between affect and signification and draw affect and mimetic experience into the core conceptualisation of documentary film. The studies explore an Australian television documentary series, an Indonesian political docudrama and three hybrid documentaries—two Indian and one French. Through these studies, the thesis argues that affective embodied mimetic experience is at the core of cinema spectatorship. / Doctor of Philosophy (PhD)

What is unique to the experience of cinema that has ensured its ongoing popularity across generations of filmgoers? As both a theoretical construct and a real world practice, cinematic experience is necessarily implicated in systems of social and cultural stratification, and thus subject to the drive for symbolic distinction amongst classes. As such, practical logics grounded in specific cultural arbitraries hinder illumination of the complexities of film going, perpetuating epistemological errors based in social ignorance and therefore denying a new understanding of cinematic experience in its embodied state. By uncovering the key theoretical and methodological fallacies informing scholastic knowledge production within the discipline of film studies, the sociological program of Pierre Bourdieu allows for the systematic mapping of cinematic experience as an economy of exchange � an economy engaging specialised categories of patron recognition and appreciation in order to offer an experience of recognised social value. Whilst subject to a range of both theoretical and methodological criticisms, ultimately the deficiencies of Bourdieu�s program are outweighed by the benefits of reflexive sociology in developing the autonomy of the field of film studies, allowing for future film study fully cognizant of the mechanisms of symbolic violence and thus academic knowledge production more attentive to the destructive logic of the open market.

Thesis (M.A.)--Ohio University, June, 2007. / Title from PDF t.p. Includes bibliographical references.

Thesis (Ph. D.)--University of Massachusetts Amherst, 2009. / Open access. Includes bibliographical references (p. 331-361). Print copy also available.