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The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
provided by the
Networked Digital Library of Theses and Dissertations.
Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
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Intersections : Baudrillard's hyperreality and Lyotard's metanarratives in selected Tarantino Visual TropesStubbs, Evelyn 06 1900 (has links)
This dissertation examines two films directed by Quentin Tarantino, whom I have situated as a postmodern film director, within the theoretical context of the philosophies of two postmodern philosophers: Jean Baudrillard and Jean-François Lyotard. I argue that the major institutions of society, such as the family and religion, are viewed as grand narratives, in Lyotard’s sense of the term, which Tarantino repeatedly subverts. Overlapping with this intersection of Lyotard’s philosophy in Tarantino’s films is the Baudrillardian loss of the real, which manifests as hyperreality in many scenes. I suggest that Tarantino makes a conscious effort to create such hyperreality with the creation of playful signifiers in his films. I examine selected scenes to find Baudrillard’s “successive phases of the image” (Baudrillard 2010:6) that lead to the creation of a simulacrum. The compelling intersections between the creation of Baudrillardian simulacra and the subversion of Lyotard’s grand narratives are explored within selected scenes which are deconstructed by means of film narratology, semiotic analysis and narrative analysis. The combination of the various methods of media research in this thesis enables what Jane Stokes calls “a more textured understanding” (2008:27) of the films under discussion. A close reading from a semiotic point of view facilitates a deconstruction of some obscure elements, such as the embedded meaning in lyrics and dialogue or the messages implicit in the mise en scène. / English Studies / M. A.
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Autorská realizace filmového dialogu / Auteur Execution of Film DialogueKocábek, Daniel January 2016 (has links)
This thesis is about auteur execution of film dialogue in screenplays and also in film. By analysing four different feature films, Reservoir Dogs, Chasing Amy, Before Sunset, and Rushmore this work shows how their authors shoot conversational scenes in an innovative manner. The American Independent cinema is briefly introduced as well as the auteur theory. The choice of filmmakers and specific films is explained. The thesis subsequently demonstrates how film dialogue is being viewed by film handbooks and how a conventional dialogue scene looks like. The four analyses are based on all of this information.
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Intersections : Baudrillard's hyperreality and Lyotard's metanarratives in selected Tarantino Visual TropesStubbs, Evelyn 06 1900 (has links)
This dissertation examines two films directed by Quentin Tarantino, whom I have situated as a postmodern film director, within the theoretical context of the philosophies of two postmodern philosophers: Jean Baudrillard and Jean-François Lyotard. I argue that the major institutions of society, such as the family and religion, are viewed as grand narratives, in Lyotard’s sense of the term, which Tarantino repeatedly subverts. Overlapping with this intersection of Lyotard’s philosophy in Tarantino’s films is the Baudrillardian loss of the real, which manifests as hyperreality in many scenes. I suggest that Tarantino makes a conscious effort to create such hyperreality with the creation of playful signifiers in his films. I examine selected scenes to find Baudrillard’s “successive phases of the image” (Baudrillard 2010:6) that lead to the creation of a simulacrum. The compelling intersections between the creation of Baudrillardian simulacra and the subversion of Lyotard’s grand narratives are explored within selected scenes which are deconstructed by means of film narratology, semiotic analysis and narrative analysis. The combination of the various methods of media research in this thesis enables what Jane Stokes calls “a more textured understanding” (2008:27) of the films under discussion. A close reading from a semiotic point of view facilitates a deconstruction of some obscure elements, such as the embedded meaning in lyrics and dialogue or the messages implicit in the mise en scène. / English Studies / M. A.
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Reality, language, and history: three facets of contemporary Romanian cinemaCarstocea, George January 2012 (has links)
Thesis (M.F.A.)--Boston University
PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / The purpose of this thesis is to closely analyze some of the individual authorial voices that have emerged from contemporary Romanian cinema. Billed by the international critical establishment as a "New Wave," the recent slate of Romanian productions, while very successful on the international festival circuit, still lacks an apt conceptualization of the precise characteristics that set these new filmmakers apart, not only from other international directors, but also from one another. The analysis focuses on six recent productions: Stuffand Dough (2001), The Death of Mr. Lazarescu (2005) and Aurora (2010) by Cristi Puiu, 12:08 East of Bucharest (2006) and Police, Adjective (2010) by Corneliu Porumboiu, and The Autobiography of Nicolae Ceausescu (2010) by Andrei Ujica, breaking down the individual authorial characteristics and thematic and stylistic concerns of each filmmaker and contextualizing them within the larger history of Romanian film, as well as the trajectories of international art cinema.
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Zeit/Geschichte: Amerikanische Alternate Histories nach 9/11 / Post-9/11 Alternate HistoriesOtten, Birte 25 January 2013 (has links)
Zeit/Geschichte: Amerikanische Alternate Histories nach 9/11 untersucht die Entwicklung kontrafaktischer Geschichtstexte, sogenannter alternate histories, vor dem Hintergrund des öffentlichen Diskurses in den USA nach dem 11. September 2001. Dabei konzentriert sich die Studie auf die formalen und generischen Eigenschaften neuerer „Mainstream-alternate histories“ seit den Terroranschlägen. Obwohl keiner der drei untersuchten Texte – Philip Roths The Plot Against America, Michael Chabons The Yiddish Policemen's Union sowie Quentin Tarantinos Inglourious Basterds – von den 9/11-Anschlägen handelt, geben doch alle drei Einblicke in die Beziehungen zwischen dem 9/11-Diskurs und jüngeren Entwicklungen im literarischen bzw. kulturellen Feld. Dabei erweist sich alternate history als ein Genre, das mit seiner thematischen, strukturellen und medialen Variabilität ermöglicht, 9/11-spezifische Veränderungen darzustellen und gleichzeitig den 9/11-Diskurs selbst zu beeinflussen. Die vorliegende Studie zeigt auf, wie sich die untersuchten Texte aktiv in den 9/11-Diskurs einschreiben, um nicht nur zeitgenössische Erfahrungen, Entwicklungen und Empfindungen, sondern auch Fragen nach Geschichte und Vergangenheitsdarstellungen zu beantworten.
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