Thesis (M.Arch.)--University of Hong Kong, 1999. / Includes special study report entitled : Advanced cinema technology. Includes bibliographical references. Also available in print.

Theses (M.A.)--Marshall University, 2005. / Title from document title page. Includes abstract. Document formatted into pages: contains v, 113 p. Bibliography: p. 108-112.

Thesis (M.S. )--Kutztown University of Pennsylvania, 2006. / Source: Masters Abstracts International, Volume: 45-06, page: 2708. Typescript. Abstract precedes thesis as 1 leaf (iii). Includes bibliographical references (leaf 21).

Thesis (Ph. D.)--Georgia State University, 2006. / Title from file title page. Ted Friedman, committee chair; Kathy Fuller-Seeley, Angelo Restivo, Jung-Bong Choi, Alisa Perren, committee members. Electronic text (249 p.) : digital, PDF file. Description based on contents viewed Oct. 29, 2007. Includes bibliographical references (p. 236-249).

This thesis will analyse the ways in which fan participation and creation in online communities extends the film world beyond the film object, and the extent to which fandom influences identity within the fan group. The study will seek to determine the ways in which fans become part of the franchise through online engagement, as well as the manner in which they appropriate the franchise identity through their creations. The central hypothesis of the study is that online participation and creation amplifies fan connection with the film franchise, and increases the sense of identification with the world and characters of the films. By being or becoming fans, and engaging with other fans in online and real spaces, they are joining a larger community of people who seem to have blurred the lines between fiction and reality by engaging in a fictional, virtual space as a source of real personal entertainment, based on an anchor media product. This appropriation is enabled through digital communities which expand and extend the reach of fan interaction and further develop the identity of the individual as ‘fan’. Thus, the study will reflect on the implications of fan engagement with the film franchise in the digital space.

Private investment in motion pictures is a popular form of tax shelter in Canada, for high income earners. This thesis attempts to determine if the tax shelter facilitated by motion picture investment adequately compensates the investor for the high risk of the investment. This is an investigation therefore, of the motion picture investment environment in Canada and an appraisal of the legal the financial implications of employing a motion picture tax shelter. A thorough unbiased examination of the consequences of private motion picture investment is needed because of the importance to the motion picture industry of this source of financing. From the point of view of the investor it is important to determine if motion picture investment is a viable-tax shelter. If motion picture investment is a viable shelter, it is necessary to determine the minimum marginal tax bracket an investor must be in before considering such an investment. It must be determined what form of financial arrangement the investment must take. An evaluation must be made to determine the type of motion pictures that are most likely to earn a profit. It is also necessary to determine the value of leveraging the initial capital investment vis-a-vis the incremental future investor liability incurred by the private investor. Does the immediate tax shelter benefit offset the future liability of the promissory notes? The method used to answer the questions posed is to examine the current literature on motion picture investments, examine the legal framework of the investments and examine the relevant income tax legislation. Actual motion picture investments are reviewed and a quantitative financial analysis is undertaken to determine the net outcomes to investors under various circumstances. National Revenue, Taxation is the body of the federal government which interprets and administers the Income Tax Act and Regulations. The terminology of the Act is not always precise therefore the tax department must interpret the legislation in accordance with its mandate which is to collect as much income taxes as possible. If a taxpayer disagrees with National Revenue, Taxation's interpretation he has the right of appeal to the Canadian judicial system. At the present time the courts have upheld National Revenue, Taxation's position that a taxpayer is not entitled to claim a capital cost allowance deduction for any amount that he has not personally committed to the motion picture investment. This study evaluates through quantitative analytical techniques the financial outcomes to an investor who invests in a motion picture with and without the leveraged tax shelter facilitated by the signing of promissory notes. A motion picture investment model is designed which generates the net present value of a motion picture investment over a seven year time horizon. Two hypothetical investor income levels are used to evaluate investment in educational video tape programs and theatrical feature length motion pictures. Assumptions are made about the distribution receipts of the two types of motion pictures. The net present value of the investments are found. The outcomes are compared and contrasted and conclusions are drawn. The primary conclusions are that an investor must have a marginal income tax rate greater than fifty percent of his taxable earnings. The motion picture investment must have a structure which facilitates leverage of the investor's initial capital investment for income tax purposes. The future liability necessary for leverage must be at least partially offset by a minimum distribution revenue guarantee. The leverage will reduce the investor's potential loss through the reduction of income taxes. However, the investor will not realize a net gain unless the motion picture earns revenue exclusive of the minimum revenue guarantee. If the motion picture does not generate any net distribution revenue for the investor he will be liable in the future for the promissory notes that facilitated the tax shelter Therefore, motion picture investment decisions must be based upon careful and detailed examination of the international commercial merits of the motion picture property. / Business, Sauder School of / Graduate

This thesis explores contemporary Canadian cinema by investigating the convergence of films, policy and criticism as they are implicated in the idea of canon. Both fluid and multiple in its frame(s) of reference, the term canon extends beyond a list or core of privileged texts to include the processes of evaluation. Posited as a performative construct, the national cinema canon can be seen as offering a strategically deployed expression of national cultural identity, with appraisals of each film's value arising from the intersection of critical and governmental discourses; however, narrow admission criteria along with the displaced goal of developing a distinctive national art cinema reinforce perceptions of absence-of Canadian culture and/or identity-by delimiting canonical boundaries to exclude more than they include. Focussing on feature film production since 1984, and adopting a predominantly English Canadian perspective, this thesis aims to examine the underlying assumptions that direct canon formation; rather than attempting to reject or replace the existing canon, this process of rereading entails working within the prevailing discourses in order to generate an awareness of the politics of selection. Emerging from a tradition of liberal humanist nationalism, canon formation in the Canadian context invokes conflicting conceptions of high cultural enlightenment and mass commodity success which have become entrenched as a continuing tension between cultural and industrial goals. These tensions are further complicated by a "double conscious" perspective that simultaneously values and rejects American cinema culture. Chapter One explores the factors shaping the admission criteria of origin and value, while Chapter Two addresses the relationship between national culture and canon formation. Chapter Three considers the ways in which Canadian cinema is defined through policy, including a case study of the 1999 Feature Film Advisory Committee Report, which encapsulates the directional challenges facing cultural policy development. Approaches to devising a descriptive canon are addressed in Chapter Four, in which hybrid categories are suggested that could be used to supplant the nationalist perspective with an acknowledgement of the fluidity of the metaphysical frontier of culture, and hence the transnational, or perhaps post-nationalist, aspects of Canadian cultural experience. / Arts, Faculty of / Theatre and Film, Department of / Graduate

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