This thesis explores the production and exhibition of the filmpoem using practice-based and film-phenomenological methodologies. The filmpoem is a synthesised art form combining poetry and experimental cinematic techniques to create a non-narrative experience. This sub-genre of experimental cinema is a personal form of filmmaking that aims to evoke intimacy with the subject matter. The structure of the thesis is divided into two, to reflect the dual methods and to bring focus to the intersubj...
Born in Turin, Italy, Niccolò Bruna is an independent filmmaker and producer who has been experimenting with the expressive tools of documentary-film since attending the EICTV (Escuela Internacional de Cine y Television) in Cuba in 1999. He moved to Barcelona in 2014 adding his name to the Italian phenomenon known as the ‘fuga dei cervelli’ (a “brain drain” that saw thousands of well-educated, creative and innovative Italian people leave the country because of a lack of opportunities, poor wo...
Academic studies of male homosexuality in horror film and television have often been focused on gay masculinity as sub-textual and symbolic and have often discussed the threat that queer, gay and lesbian sexualities pose to an assumed heterosexual spectator. Scholars including Robin Wood, Carol Clover, Richard Dyer, Ellis Hanson and Harry M. Benshoff1 have found that much of its representation has been symbolic or implicit, whereby homosexuality must be teased out of its place in the shadows ...
The thesis presents a case study of asynchronous Taiwanese-based internet forums, aimed at exploring new perspectives in the question of collective identity construction via intemet-forum participation. It develops a discursive-constructivist approach that incorporates the theories and models of Goffman, Butler, Laclau & Mouffe and Melucci, investigating the performative, antagonistic and negotiated dimensions of identities. Methodologically, it deploys a series of analytic tools from linguis...
The technical, commercial and cultural aspects of the advent of sound in the cinemas of several nations have been widely researched in work on that epoch. This article focuses on another facet of that history, namely its impact on musicians employed in British cinemas. Much of the evidence is based on the records of the Musicians' Union and chronicles that organisation's attempts to resist the introduction of the new technology and to ameliorate its impact on its members. The musicians' side ...
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