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Film Studies Theses and Dissertations

This collection contains theses and dissertations from the Department of Film Studies, collected from the Scholarship@Western Electronic Thesis and Dissertation Repository

Theses/Dissertations from 2015 2015

The Rise of Marvel and DC's Transmedia Superheroes: Comic Book Adaptations, Fanboy Auteurs, and Guiding Fan Reception , Alex Brundige

Contemporary French Queer Cinema: Explicit Sex and the Politics of Normalization , Joanna K. Smith

Rob Zombie, the Brand: Crafting the Convergence-Era Horror Auteur , Ryan Stam

Transnational Monsters: Navigating Identity and Intertextuality in the Films of Guillermo del Toro , Sean M. Volk

Theses/Dissertations from 2014 2014

Tragedy, Ecstasy, Doom: Modernist Moods of "West Side Story" , Andrew M. Falcao

Theses/Dissertations from 2013 2013

Music, Cinema and the Representation of Africa , Natasha Callender

Clash of the Industry Titans: Marvel, DC and the Battle for Market Dominance , Caitlin Foster

The New French Extremity: Bruno Dumont and Gaspar Noé, France's Contemporary Zeitgeist , Timothy J. Nicodemo

'Subbed-Titles': Hollywood, the Art House Market and the Best Foreign Language Film Category at the Oscars , Kyle W. J. Tabbernor

Theses/Dissertations from 2012 2012

Fighting, Screaming, and Laughing for an Audience: Stars, Genres, and the Question of Constructing a Popular Anglophone Canadian Cinema in the Twenty First Century , Sean C. Fitzpatrick

New York Beat: Collaborative Video and Filmmaking in The Lower East Side and the South Bronx from 1977-1984 , Andrew G. Hicks

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ONCE UPON A TIME IN MOVIE THEATRES: HOW THE FILM INDUSTRY IS RE-WRITING ITS SCREENPLAY Master thesis in CULTURAL ECONOMICS

The outbreak of Covid-19 pandemic in the early months of 2020 unleashed a domino effect that impacted a wide variety of sectors. Among others, the film industry registered critical detriments, with thousands of cinema theatres closed around the world and film productions, major releases and some of the most important events in the field, such as festivals and awards postponed, temporarily suspended or definitively cancelled. The aim of this thesis is to outline an extensive picture of the Covid-19 effects on the world of cinema, starting from the analysis of the pre-existing challenges that were affecting the business and that have been exacerbated by the health crisis, namely the impact of digital technologies on the film value chain, the enhancement of OTT and VOD platforms and the consequent “streaming war”, the constant need for original contents, the overload of franchises and sequels and the predominance of blockbusters at the expenses of small and mid-budget productions. The research will therefore focus on film festivals that, being the quintessential node of intersection between trade and artistic interests can be regarded as an ideal “microcosm” from which to develop a reflection on cinema and the processes in which it is involved. In this respect, the analysis of the 34th edition of Il Cinema Ritrovato was deemed an emblematic case study to investigate the extent in which the outbreak of the virus impacted the industry of cinema, providing interesting insights on the implementation and management of an unprecedented festival configuration involving the co-existence of live and digital events. The study will thus highlight the pivotal role played by the pandemic hiatus in accelerating a process of change in spaces, times and means of consumption, eventually giving the opportunity to re-think the way in which audiences and professional approach and define cinema.

Related Papers

Rafael L Freire , Charlotte Orzel

The COVID-19 (SARS-CoV-2) pandemic has led to a generational crisis for film exhibition around the world. Since the pandemic began in 2019, movie theaters have been forced to close their doors temporarily or permanently, alter their modes of presentation and the parameters of the theatrical experience, and transform their operations in countless other ways. But COVID-19 is certainly not the first crisis in film exhibition, nor the only one in process locally and globally. The introduction to this special section examines the concept of crisis in the study of film exhibition and the historic and contemporary crises that have altered cinemagoing practice. It argues that these crises open opportunities for scholars to analyze a broad array of social, political, and industrial impacts that influence film exhibition and related areas of cultural and creative practice across time and space, introducing new research that employs this analytical lens.

Herwin Cabasal

Quarantine cinema emerges as a film culture and genre characterized by its offering of alternative film practice and prevalent narratives in the time of COVID-19 pandemic. This phenomenon is a result of necessary adjustments to adapt in these trying times and a critical response to the social, political, and economic issues brought by a public health crisis. The research questions that this paper sought to answer deals with both the creative process and content: (a) How did the filmmakers of quarantine cinema and organizers of quarantine film festivals, despite the inevitable constraints and challenges, resiliently respond to the imperative need to change in terms of filmmaking and film screening? (b) What are the prevalent themes and patterns in the narratives of quarantine cinema that genuinely depicted the lived experiences based on the overlapping struggles and triumphs of the Filipinos during the first year of the COVID-19 pandemic? The results indicate how quarantine cinema plays its part in sustaining art and culture amidst the virus outbreak by practicing alternative ways of film production that is limited and confined at homes and personal spaces; film aesthetics that deviate from the standardized forms, techniques, and styles; and film exhibition and events that heavily relied on social media and online platforms. Based on the recurring categories of themes in the narratives of quarantine cinema, these audiovisual productions significantly contribute to the data, proof, and collective memories that reveal how the Philippines and its people experienced the virus outbreak intended for cultural and social dialogue, criticism, and discourse.

Marijke de Valck , Antoine Damiens

As the year 2020 is slowly coming to an end, we are confronting an unprecedented crisis and witnessing what will likely be a major moment in the history of film festivals. The novel coronavirus COVID-19 provoked a pandemic of soaring proportions and the restrictive measures taken to contain the virus are heavily impacting the global festival world. This particular climate is defined by uncertainty: as such, it seems that the festival circuit is in a constant state of suspension. We do not know how long the disruption will last, to what extent we will be able to ‘go back to normal’, nor how deeply the festival world will be impacted. For those working in and for the film festival industry, the current crisis poses immediate challenges and severe risks. For those with scholarly engagement to film festivals and the industries and cinemas supported by them, the crisis offers challenges as well as opportunities to reflect on our ways of thinking about the festival ecosystem.

Zeitschrift für Medienwissenschaft

Ger Zielinski

Open-Access text with link below. On the state of film festivals under the COVID-19 pandemic 2020. Open-Media-Studies-Blog, Zeitschrift für Medienwissenschaft Link at https://mediastudies.hypotheses.org/2484

Documentary film cultures in the age of COVID-19

Anna Zoellner

Aniki: Revista Portuguesa da Imagem em Movimento

Charlotte Orzel

Interview with Jackie Brenneman and Bryan Braunlich of the National Association of Theater Owners (NATO) and The Cinema Foundation, in which they discuss their organizations’ response to the COVID-19 pandemic in defense of US cinema owners. Brenneman recounts the first three years of the pandemic, including NATO’s initial understandings and activities during the early weeks of the pandemic’s spread to the US. She details NATO’s role in government support programs, distribution challenges, and evolving industry narratives surrounding exhibition, as well as her own experiences working to assist in exhibition’s recovery. Brenneman also reflects on the broader impact of the pandemic on the industry after three years of struggle and adaptation. With Braunlich, she explains the goals, initiatives, and trajectory of The Cinema Foundation, a cross-industry organization founded in the wake of the pandemic to advocate for stakeholders across the exhibition sector.

Péter Szitás

The past two years have posed unprecedented challenges for the cultural sector as a whole, including theatres. The outbreak of the pandemic, and the restrictions imposed to contain it, turned the institutional routine on its head, placing the world of the performing arts in a dimension alien to it. Our study focuses on the internal processes that characterised theatres before, during and after the pandemic. We will illustrate how the venues have responded to the enforced closures, what they have done to preserve their communities and audiences, and whether they have acquired valuable knowledge at a level that may be applied in returning them to their former domain.

Marco Dalla Gassa

Reframing Film Festivals: Histories, Economies and Cultures is an international film studies conference organised by the Ca’ Foscari University of Venice and the Aldo Moro University of Bari, in collaboration with the the Apulia Film Commission, the Consulta Universitaria Cinema and the Associazione Italiana per le Ricerche di Storia del Cinema and is supported by the Centro Studi Apulia Film Commission, Science Gallery Venice and Hostelsclub. This double-event conference seeks to contribute to the so-called film festival studies through a series of roundtables and debates involving film critics, practitioners and scholars. In this vein, Reframing Film Festivals seeks to foster an interdisciplinary and intersectional reading of film festivals, here conceived as a historiographic “dispositive”, as cultural formations and as financial institutions. Within a single and cohesive research framework, the Ca’ Foscari strand (11-12 February) will be devoted to the critical-historic and historiographic dimension of film festivals, while at the University of Bari (25-26 March) the focus will be placed on their cultural and economic dimension.

Baltic Screen Media Review

Indrek Ibrus , Teet Teinemaa

CTC 2021 PROCEEDINGS BOOK

OKAN ORMANLI

Covid-19, a disease that transformed into a pandemic at the beginning of 2020, caused catastrophic results in the world and Turkey. There have been some restrictions on trade, education, tourism, and art. Daily life was not interrupted but some services and events that they have not primary functions (for some people) like “art” were on the verge of stopping and carried to the digital platforms. In this context, some corporations opened their archives and sometimes actual events to the public free of charge or for a certain amount of money. Art, which has always had “healing”, “mediating” and “unifying” effects, was consumed by the billions of people through digital devices. Considering art is both a sector and an industry, the unexpected phenomenon of Covid-19, which is a kind of crisis that occurs one in a hundred years and takes longer than expected, led to the temporary or permanent closure of some art and culture institutions. Due to these results, some supportive programs have...

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Quantitative study of the movie industry based on IMDb data

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Focusing on the transnational and the peripheral elements of film, we develop and expand the entire realm of film scholarship. Working on areas from Deleuze to Korean cinema, from digital cinema to Eastern Europe, from transnational auteurs to documentary and activist films, and many areas in between, we promise a vibrant and engaging research environment for students and scholars.

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Film festivalisation : the rise of the film festival in the uk's postindustrial cities , making meaning of laurence olivier : reading queer sensibilities in his hollywood performances, 1939-1960 , watch and learn : film and the british educational life 1895-1910 , ecuadorian cinema for the 21st century : negotiating neoliberalism policy, industry, and memory during the ley de cine years , when the place speaks : an analysis of the use of venues and locations in the international film festival circuit .