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Thesis (M.A.)--University of Texas at El Paso, 2007. / Title from title screen. Vita. CD-ROM. Includes bibliographical references. Also available online.

Thesis (Ph. D.)--UCLA, 2009. / Vita. Description based on print version record. Includes bibliographical references (leaves 344-369). Filmography: Leaves 335-342.

Thesis (Ph.D.)--Ohio State University, 2005. / Title from first page of PDF file. Document formatted into pages; contains viii, 177 p. Includes bibliographical references (p. 165-177). Available online via OhioLINK's ETD Center

The problem with which this investigation is concerned is the ascertainment of the attitudes of members of the Texas film industry toward the film curriculum offered in Texas institutions of higher learning. Based on the findings the following conclusions have been reached. There is not a high regard overall for film-studies programs in Texas institutions of higher learning within the film industry. This may be overcome by an interaction of the professional film community as an active participant in curriculum planning and development. Of prime consideration should be an association of film schools coordinating programs in cooperation with the Texas Film Commission. An effective curriculum for film-studies education may be organized by utilization of learning modules. This plan would organize the learning experiences in a functional manner and would move toward involvement of a career nature.

A particular youth identity in the South African Indian diaspora is being forged in a nexus o flocal and global forces . The globalisation of Bollywood and its popularity as a global media and the international commodification of the Indian exotic have occurred at the same time as the valorisation of 'difference' in the local political landscape. Indian youth, as young members of the South African Indian diaspora, are inheritors both of a conservative - yet adaptable - home culture and the marginalised identities of apartheid. However, the tensions between their desire to be recognised as both 'modern' South Africans and as ' traditional ' Indians create a space in which they are able to (re)create for themselves an identity that can encompass both their home cultures and the desires of a Westernised modernity through the tropes of Bollywood. Bollywood speaks to its diasporic audiences through representations of an idealised 'traditional yet modern' India. Although India is not a place of return for this young generation, Bollywood representations of successful diasporic Indian culture and participation in the globalised Bollywood industry through concerts and international award ceremonies has provided an opportunity for young Indians in South Africa to re-examine their local Indian identities and feel invited to re-identify with the global diasporas of India.

Made available in DSpace on 2014-06-11T19:26:36Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-08-17Bitstream added on 2014-06-13T19:54:43Z : No. of bitstreams: 1 barbosa_wgc_me_assis.pdf: 1161981 bytes, checksum: 6d5db086a0188bcb6b1dd44f4d413f96 (MD5) / A Agência Nacional de Cinema (ANCINE) é uma autarquia vinculada ao Ministério da Cultura que foi criada pela Medida Provisória 2.228-1/01, no contexto da reforma administrativa do governo do Presidente Fernando Henrique Cardoso. O surgimento da Agência se constituiu em um marco regulatório da indústria cinematográfica nacional no período posterior ao processo de retomada na década de 1990, como resultado das discussões realizadas por representantes dos segmentos que se ligam à atividade no âmbito do 3º. Congresso Brasileiro de Cinema – CBC, no ano 2000, impelindo o governo a criar o Grupo Executivo para o Desenvolvimento da Indústria do Cinema – GEDIC. Nesse grupo estavam presentes representantes de pastas ministeriais e de setores interessados na produção cinematográfica e sua comercialização. Sua implantação se deu no ano de 2002, mas até 2005 sofreu com as dificuldades de implementação das suas atividades finalísticas. O objetivo deste estudo é analisar os mecanismos de incentivo originados nesse processo e em anos anteriores – Lei Rouanet e do Audiovisual – que possibilitaram a institucionalização do setor cinematográfico nacional e colocá-los em uma perspectiva histórica, identificando as modificações introduzidas e as permanências verificadas. Além disso, pretendemos analisar a documentação que aborda os primeiros anos de funcionamento da Agência e o possível impacto no setor. Por fim, a partir da trajetória de Gustavo Dahl, primeiro Diretor-Presidente do órgão, entender as visões que permearam a elaboração do projeto, sejam elas marcadas por continuidades ou rupturas, e problematizar a própria criação da instituição. Nesse sentido, buscar explicações para o tipo de institucionalização pelo qual se optou e para o modelo de política pública voltada para o setor audiovisual, do qual a... / The National Agency of Cinema - ANCINE is a federal autarchy under the Ministry of Culture which was established by Provisional 2.228-1/01 in the context of administrative reform of the government of President Fernando Henrique Cardoso. The emergence of the Agency constituted a regulatory framework of the national film industry in the period after the resumption process in the 1990s as a result of discussions held by representatives of the segments that bind to the activity under 3º Brazilian Congress of Cinema - CBC, in 2000, prompting the government to create the Executive Group for the Development of Film Industry - GEDIC. In this group were present representatives of ministerial portfolios and sectors interested in film production and marketing. It was implemented in 2002, but ate 2005 suffered from the difficulties of implementing its final activities. The objective of this study is to analyze the incentives arising in this process and in previous years - Rouanet and Audiovisual Laws - which enabled the institutionalization of the national film industry and put them in a historical perspective, identifying the changes made and stays checked. In addition, we intend to analyze the documentation that covers the first years of operation of the Agency and the possible impact on the sector. Finally, from the path of Gustavo Dahl, first Chief Executive of the body, understand the views that permeated the development of the project, whether marked by continuities or ruptures, and to discuss the creation of the institution itself. In this sense, seeking explanations for the kind of institutionalization by which they chose and for the model of public policy directed to the audiovisual sector, which ANCINE is the convergence space and to identify the problems, especially economic, still present in activity and overcome... (Complete abstract click electronic access below)

The increasing popularity of Nigerian video-film, defined as the ‘Nollywood phenomenon’ (Barrot 2008, Haynes 2010, Adesokan 2011), has attracted recent interdisciplinary academic attention, now known as ‘Nollywood Studies’. The aesthetics and ideological approach of Nollywood video-film are often differentiated from those of the long-established and illustrious African Cinema. Films of Africa are, however, generally characterised by seemingly unique forms of the fantastic – an uneasy theme in scholarship on Nollywood. Although Nollywood video-film is commended by some scholars, its representation of the supernatural and the fantastic is often perceived to be demeaning. Considering the complexity of fantastic themes in creative arts of Africa, this study contributes to this field of study by positioning Nollywood as an interventionist artistic practice that subverts the division between art and popular culture. Further, it considers how this positioning could shift our thinking about what constitutes art and creative practice in Africa. The distinctions between art and popular culture have been inherited from particularly Western disciplines. A critical analysis of the fantastic in Nollywood could expand interpretations of the broader uses of new media and appropriation and develop the discourse on contemporary creative practices of Africa and the parameters of the art history discipline. I interrogate the visual language of the video-film medium through a discussion of other forms of artistic media such as photography, video art, and performance art. The fantastic themes, such as ‘magic’, ‘fetishism’ and violence, conveyed through new media open up a field of questions regarding contemporary social-political dynamics. The cultural value of Nollywood video-film is often based on who makes it. As a proletarian product, Nollywood has been underestimated as a ‘low’ form of culture. Its use of appropriated material connotes the complex dialectics that formulate class difference. I consider how a positioning of video-film as a creative practice could be complicated by the fact that it also operates as a theocentric implement that is used by churches to evangelise. Moreover, I examine how ‘epic’ films construct idyllic notions of ‘ethnicity’ based on dialectics of rational/irrational or real/fantastic. Nollywood video-film also creates images of fantastic spaces. In this thesis, I address concepts of space in Nollywood from which fantastic desire is constructed.

The Film Industry is regarded as a vital part of the South African economy. One of the advantages of this sector is the potential to create jobs. This has been evidenced over the years by direct jobs created for people in the entire film value chain. The Film industry has also generated many more jobs indirectly and sectors such as transport, catering and hospitality benefited enormously. The NFVF (2010) 10 years review of the Film and Video industry states that the South African government has identified the film industry as one of the catalytic vehicles for job creation and economic growth. Given the importance of the contribution of the Film Industry to job creation and economic development, there is a demand for SMMEs in this sector to be supported by Government. Not until recently the support given to Filmmakers was biased to Gauteng, Cape Town and Kwa-Zulu Natal as a result film makers would go to these Provinces for opportunities. This study has examined the challenges faced by SMMEs in the film industry in the Nelson Mandela Bay Municipality in acquiring Government support and to seek ways of addressing the challenges. There has been limited research undertaken on the support given to SMMEs in film particularly the Eastern Cape Province. After a comprehensive literature review was undertaken on SMMEs, the following variables were identified as conceivably affecting growth and development of SMMEs in the film industry: Enabling Legal and regulatory environment; Financial support; Technological support; Managerial support. This study followed a quantitative research method. A measuring instrument in the form of a questionnaire was compiled from secondary sources of literature. The respondents were identified through convenience sampling technique. The sample comprised of 35 out of 50 SMMEs in film. The empirical results showed that all of the variables, enabling legal and regulatory environment, financial support, technological support and managerial support had a relationship with growth and development of SMMEs in film.