published_or_final_version / abstract / toc / Sociology / Master / Master of Philosophy

Thesis Univ. of East Anglia (Norwich), 2006. / Originaltitel: Curtain raisers, Titel der Diss. Includes bibliographical references and index.

曾凱恩. / 論文(哲學碩士) -- 香港中文大學硏究院傳播學部, 1996. / 參考文献 : leaves 178-181. / Zeng Kai'en [Tsang Doris H. Y.]. / Chapter 第一章： --- 總論 / Chapter 第一節： --- 前言 --- p.7 / Chapter 第二節： --- 研究問題之闡釋 --- p.8 / Chapter 第二章： --- 文化資源與訊息解讀的關係 / Chapter 第一節： --- 「文化」在閱聽人和解讀中的角色 --- p.14 / Chapter 第二節： --- 解讀的認知心理過程 --- p.17 / Chapter 第三節： --- 活動於文化資源中的「符號」 --- p.22 / Chapter 第三章： --- 文本與閱聽人的互動形態 / Chapter 第一節： --- 總論文本與閱聽人的關係 --- p.27 / Chapter 第二節： --- 積極活躍於解讀的閱聽人 --- p.28 / Chapter 第三節： --- 多元歧義的解讀結構 --- p.32 / Chapter 第四節： --- 符號的種類與意義的闡釋 --- p.37 / Chapter 第四章： --- 研究方法 / Chapter 第一節： --- 研究設計 --- p.45 / Chapter 第二節： --- 影片介紹 --- p.50 / Chapter (一） --- 阿甘正傳 --- p.51 / Chapter (二） --- 人間有情 --- p.52 / Chapter 第五章： --- 總論研究實證 --- p.53 / Chapter 第六章： --- 表述解讀過程的形式 --- p.59 / Chapter 第一節： --- 比較式的表述 --- p.59 / Chapter (一） --- 内部比較 --- p.60 / Chapter (二） --- 外部比較 --- p.61 / Chapter 第二節： --- 體驗式的表述 --- p.63 / Chapter 第三節： --- 誘導式的表述 --- p.65 / Chapter 第四節： --- 設身式的表述 --- p.66 / Chapter 第七章： --- 解讀：閱聽人文化資源的運用與文本的互動 / Chapter 第一節： --- 文化資源與解讀的關係 / Chapter (一） --- 文化資源決定了閱聽人的解讀取向 --- p.68 / Chapter 第二節： --- 小組討論的互動性表現 --- p.79 / Chapter (一） --- 表述方式的倣效 --- p.80 / Chapter (二） --- 問題的再建構潛力 --- p.81 / Chapter (三） --- 眾人的「壓力」 --- p.82 / Chapter 第八章： --- 故事線解讀 / Chapter 第一節： --- 故事線解讀的停留性 --- p.84 / Chapter 第二節： --- 故事線解讀的一致性 --- p.92 / Chapter 第三節： --- 解讀的提升性 --- p.93 / Chapter 第九章： --- 探索性解讀 / Chapter 第一節： --- 故事線中的思考空間 --- p.95 / Chapter 第二節： --- 延申性探索解讀 --- p.98 / Chapter 第三節： --- 獨立性探索解讀 --- p.104 / Chapter 第十章： --- 認知性解讀 / Chapter 第一節： --- 特定解讀 / Chapter (一） --- 特定解讀模式 --- p.110 / Chapter (二） --- 不同的發源，相同的理解 --- p.116 / Chapter (三） --- 異己文化的知識性解讀 --- p.117 / Chapter (四） --- 抽象訊息解讀的特定性 --- p.123 / Chapter 第二節： --- 任意解讀 / Chapter (一） --- 任意解讀模式 --- p.126 / Chapter (二） --- 相同的發源，不同的理解 --- p.131 / Chapter (三） --- 異己文化訊息的再解讀 --- p.132 / Chapter (四） --- 「沒定義」的文化符碼 --- p.135 / Chapter (五） --- 訊息是回憶的起點站 --- p.137 / Chapter 第十一章： --- 總結 --- p.140 / 附錄 / 附錄一 ：「阿甘正傳」討論點 --- p.145 / 附錄二 ：「阿甘正傳」討論點（英文） --- p.151 / 附錄三：「人間有情」討論點 --- p.157 / 附錄四：「人間有情」討論點（英文） --- p.164 / 附錄五：中國人組個人資料問卷 --- p.172 / 附錄六：美國人組個人資料問卷 --- p.173 / 附錄七：内容複述的書信戔 --- p.174 / 參考書目 --- p.178

This thesis takes as its focus the relation between particular constructions of filmic time and the resulting affective and emotional experiences these temporalities produce on a spectatorial level. This connection between time and affect is thought through more specifically here in relation to an idea of the everyday not only as a thematic concern with the minutia of routine daily existence but also as distinct, and yet shifting, conceptions of filmic and viewing time. While film studies has often approached the temporal construction of the quotidian through the rubric of ???real time,??? I explore different articulations of the everyday in a number of film practices through the writings of Henri Lefebvre. As a sociologist and philosopher preoccupied with the revolutionary quality of everyday time in both material reality and art practices including film, Lefebvre???s work enables this thesis to approach film as an especially potent and significant site for affective experiences of time and of the everyday. Beginning with John Cassavetes??? Faces (1968) and an analysis of an affective everyday temporality that film is able to produce as a temporal medium, this thesis goes on to consider the quotidian through photography and stillness in Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (Chantal Akerman, 1975), dying and witnessing via Silverlake Life: The View from Here (Tom Joslin and Peter Friedman, 1993), and finally melodrama and unrequited love in Wong Kar-wai???s In the Mood for Love (Huayang Nianhua, 2000). In the analysis of these films and videos, this thesis draws on film debates explicitly concerned with time as well as focusing on those places in philosophy and critical theory where a promising and productive articulation of film and its inscription of time and affect can be found and conceptualised. In this investigation, the everyday as both a temporal construction and a spectatorial affective experience is a means to reflect on the cinema as a continually shifting and dynamic affective site.

Thesis (Ph.D.)--Bowling Green State University, 2009. / Document formatted into pages; contains xi, 452 p. : col. ill. Includes bibliographical references.

In my thesis I develop a theory of our mental, physiological and emotional involvement with motion pictures that accounts for the distinct role of perception in our cinematic experiences. In particular, I present a (limited) resemblance view of cinematic perception and depiction that begins with an analysis of motion picture screenings as events in the world to which audience members share perceptual access and to which we can attribute complex visual and auditory properties. By understanding the precise nature of these properties and by understanding the mind's rich and dynamic relationship to visual and auditory stimuli, we can meet the demand of explaining the essential contribution of perception to our cinematic experiences. This positive theory is introduced through a philosophical and empirical critique of the work of several contemporary "cognitivist" film theorists who can been faulted for (i) falling into the traps of traditional illusion accounts, (ii) failing to account for the perceptual nature of our film experiences, or (iii) incorrectly characterizing the nature of our perceptual relationship to cinematic content.

This thesis takes as its focus the relation between particular constructions of filmic time and the resulting affective and emotional experiences these temporalities produce on a spectatorial level. This connection between time and affect is thought through more specifically here in relation to an idea of the everyday not only as a thematic concern with the minutia of routine daily existence but also as distinct, and yet shifting, conceptions of filmic and viewing time. While film studies has often approached the temporal construction of the quotidian through the rubric of ???real time,??? I explore different articulations of the everyday in a number of film practices through the writings of Henri Lefebvre. As a sociologist and philosopher preoccupied with the revolutionary quality of everyday time in both material reality and art practices including film, Lefebvre???s work enables this thesis to approach film as an especially potent and significant site for affective experiences of time and of the everyday. Beginning with John Cassavetes??? Faces (1968) and an analysis of an affective everyday temporality that film is able to produce as a temporal medium, this thesis goes on to consider the quotidian through photography and stillness in Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (Chantal Akerman, 1975), dying and witnessing via Silverlake Life: The View from Here (Tom Joslin and Peter Friedman, 1993), and finally melodrama and unrequited love in Wong Kar-wai???s In the Mood for Love (Huayang Nianhua, 2000). In the analysis of these films and videos, this thesis draws on film debates explicitly concerned with time as well as focusing on those places in philosophy and critical theory where a promising and productive articulation of film and its inscription of time and affect can be found and conceptualised. In this investigation, the everyday as both a temporal construction and a spectatorial affective experience is a means to reflect on the cinema as a continually shifting and dynamic affective site.

Thesis (Ph.D.) -- University of Western Sydney, 2006. / A thesis presented to the University of Western Sydney, School of Communication Arts, in fulfilment of the requirements for the degree of Doctor of Philosophy. Includes bibliography.

Thesis (M.A.)--Carleton University, 2002. / Includes bibliographical references (p. 114-116). Also available in electronic format on the Internet.

Thesis (Ph. D.)--Indiana University, 1985. / Includes bibliographical references (p).