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This thesis charts points of convergence between the fields of historical studies and film studies that generate a line of inquiry which questions how the development and dissemination of film and television have significantly shaped historical conscIOusness. Taking this line of inquiry as a starting point, this thesis identifies the ways in which film (and television) representations have informed American cultural memory of the Vietnam War. The thesis describes how the reporting of the war in newspapers and on television results in the production of a number of vivid and powerful 'nodal images'; these images enable their viewers to locate themselves in relation to the larger event and offer guidance regarding how other representations produced in response to the war might be understood. The thesis goes on to explore how these images play a significant. role in secondary film and television representations, including Hollywood feature films, whereby the initial connotations of the image are recirculated, reenacted and re-scripted. The thesis also indicates how other film representation of the war - such as the film records produced by the American military for tactical and strategic purposes and amateur film produced by American military personnel- are side-lined by the dominance of these nodal images. This study closes by proposing a taxonomy of the key features of these film (and television) representations and profiles the ways in which these features determi~e American cultural memory of the war and mediate historical experience more generally. The conclusion arrived at is that the historical consciousness engendered by these representations encourages the meaning of the Vietnam War to be located in relation to individual phenomenological experience and that the priVileging of this experience above all others marginalises the wider frames of reference - politics, history, economics and so on - which might make that experience meaningful.

CHUTZPAH is a romantic movie set in Manhattan. The events surrounding the death of a wealthy eccentric cumulate into a farcical search for the old man's fortune when it is stolen shortly after his funeral. Ellen, the protagonist, hires a detective to find out who stole her grandfather's money (a substantial sum of which was willed to her). As Mark, the detective, works on the case, a relationship between him and Ellen develops, and the search for the money becomes secondary. Ellen's charm and her relationship with her zany Yiddish relatives endear her to Mark while they together find chutzpah in disaster.

This study offers an in-depth account of how, when and why consumers engage with films as brands, using 38 exploratory, semi-structured consumer interviews and 1030 consumer survey responses. Extant film branding literature is scarce, dominated by filmmakers' and marketers' perspectives of films as brands and is confined to exploring points of parity associations films have as brands, rather than ways films may differentiate themselves as brands. Taking on a consumer centric view, our findings show although filmmakers, production houses and marketers may jointly develop and market films with the vision of becoming brands, this doesn't necessarily guarantee consumers' engagement with such films as brands. Instead, consumers initially evaluate the coherency of a film's identity and subsequently go on to engage with films as brands, a process which is fully mediated by the emotional bonding a consumer may develop for a film and partially mediated by a film's popularity and sequels. Films' marketing/franchising efforts, iconic status and sense of timelessness moderate consumer-film brand engagement, resulting in positive word of mouth and purchase intention. Our sequential, consolidated and specified film brand engagement framework guides filmmakers and marketers on how to tactically engage consumers with their films as brands, in order to differentiate themselves within this risky and competitive market.

This report chronicles the creative inspiration, writing, and rewriting processes that went into the development of Jennifer Rounseville Cote’s screenplay “Finishing School.” The following pages additionally examine issues in the horror movie genre and screenwriting practices in general. / text

Welcome to the movies! Welcome to the stars! Welcome to this grand illusion! All of it's yours. New Urbanism. Hollywood thinks you're stupid. Scientology. Retro-futurism. Taking back color from toiletries. Personal politics. Cutting off the legs of the bioscopes. The architecture of Fun. The death of Entertainment. Freedom of speech. Sticky floors. Googie. Suburbia. Popcorn. The way we live our lives. All seen through the limelight of a night at the movies. / Master of Architecture

Image of lawyers in movies - Abstract This thesis focuses on selected legal (revolving around a legal issue or procedure) and lawyer (includes a well-established character who is a member of the legal profession) movies, that grabbed my attention and were interesting enough for me to write a short analysis of. The aim of this paper is to present these movies to the reader in two stages. First in the table, that contains their lucid list marking the branch of law which they relate to, brief summary of their plot, how realistic they are, quality assessment and country of origin. This is supposed to be used during selection of a movie to watch, so I strive to remain as objective as possible in the quality assessment and offer a summary, that does not diminish the viewing experience. Second in the analysis, that is focused on the legal side of the story and the characters of presented lawyers, who are being evaluated upon the logic and morality of their actions as well as how plausible their character is and other features. I deliberately omit storylines that are not essential to understanding the story as a whole and have little relevance to the legal side of it. In the third chapter I divide the movies in two categories: lawyer movies and legal movies, compare them together and try to present a more complex...

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Tese de mestrado. Multimédia. Faculdade de Engenharia. Universidade do Porto. 2010