ABSTRACT: Videographic criticism has emerged as an innovative form of critical analysis of film since the digital innovation brought about by the online film sharing websites YouTube and Vimeo in...Show moreABSTRACT: Videographic criticism has emerged as an innovative form of critical analysis of film since the digital innovation brought about by the online film sharing websites YouTube and Vimeo in the early 2000’s. However, videographic criticism, although popular has made slow progress in its attempts to assert itself in the world of contemporary film criticism. This thesis seeks to locate videographic criticism in contemporary film criticism by examining the state of contemporary film criticism by using Kevin B. Lee’s 2014 video essay, Transformers: The Premake as a case study. This thesis will begin by demonstrating that videographic criticism is a reflexive and relevant method for the production of film criticism. It will further examine how videographic criticism uses techniques associated with compactness and condensation to create arguments. In examining these methods, this thesis will finally interrogate the relevance of videographic criticism to contemporary media analysis and film criticism. Thus, this thesis finds the videographic criticism to be an effective and innovative way to produce meaningful, rich film criticism.Show less
Escapism has often been touted as a core function of films. Yet despite, or perhaps because of this, escapism in film hasn't been analyzed as a theme often. This thesis explores six films with...Show moreEscapism has often been touted as a core function of films. Yet despite, or perhaps because of this, escapism in film hasn't been analyzed as a theme often. This thesis explores six films with different stances on escapism, to research what different effects and values these films have on escapism, in order to better grasp this fundamental process of film.Show less
Het onderzoek van deze scriptie geeft inzicht in de benadering van slow journalism, in het bijzonder de rol van documentaire fotografie daarbinnen, voor de representatie van conflict ten tijde van...Show moreHet onderzoek van deze scriptie geeft inzicht in de benadering van slow journalism, in het bijzonder de rol van documentaire fotografie daarbinnen, voor de representatie van conflict ten tijde van versnelling in de hedendaagse beeldcultuur en digitale informatiemaatschappij. Het onderzoek richt zich op de vraag hoe The Sochi Project van fotograaf Rob Hornstra en journalist Arnold van Bruggen (2009-2014), als slow journalism-project dat gebruik maakt van verschillende presentatievormen, een alternatief biedt ten opzicht van de bestaande problematiek rondom de fotografische representatie van conflict. De problematiek rondom de representatie van conflict is ontstaan vanuit postmoderne kritiek op de documentaire traditie van de twintigste eeuw. The Sochi Project biedt in haar representatie van de conflictsituatie in Sotsji en de Noord-Kaukasus in aanloop naar de Olympische Winterspelen van 2014 een alternatief, enerzijds, door middel van het gebruik van zowel een combinatie van tekst met beeld als late fotografie en, anderzijds, door middel van het gebruik van meervoudige presentatievormen.Show less
This thesis provides a study of the subversive cinematographic practices in Spain during the period of political repression under Francoism (1939-1975). In foregrounding the non-conformist cinema...Show moreThis thesis provides a study of the subversive cinematographic practices in Spain during the period of political repression under Francoism (1939-1975). In foregrounding the non-conformist cinema of the time, it is my hope that this thesis contributes to the reconstruction of an immediate past in order to fight against the loss of memory, instigated by the dominant accounts of the history of that period, including that of the Spanish cinema. This thesis aims, then, to bring to light the repression that was encouraged by the state within the purview of film in order to hinder freedom of speech, and to revive a period of Spanish film history in which some films must be seen, I argue, as an instrument for social criticism. Against this background of repression I have, firstly, drawn attention on the institutional mechanisms and administrative procedures of censorship and propaganda – through which the state exercised control over the film making practices –, and the propaganda films made by directors who followed the principles of the regime, particularly focusing on the case of José Luis Sáenz de Heredia. Secondly, I have focused on two different lines of dissidence, i.e. internal and external, through the works of Falangist director José Antonio Nieves Conde, and the collaborative works of Luis García Berlanga and Juan Antonio Bardem, respectively.Show less
This thesis investigates the auteur cinema of Michel Gondry and describes how its special “tone” is connected to the branding of emotion. The broad work of cross-media auteur Michel Gondry contains...Show moreThis thesis investigates the auteur cinema of Michel Gondry and describes how its special “tone” is connected to the branding of emotion. The broad work of cross-media auteur Michel Gondry contains short and feature films. In order to stress the role of short films within Gondry’s oeuvre and to highlight the connecting motifs five short films and two feature films were analyzed from the point of view of an auteur theory in transition. In the chapter one of the thesis, Gondry’s work is discussed, respectively, against the backdrop of the classic auteur theory of the 1950s (Truffaut, Sarris), the discourses on the “death of the auteur” of the 1960s and ‘70s (Bazin, Foucault), and, finally, the revival of auteur theory from the 1980s and ‘90s onwards, with Andrew and Corrigan, who claim that the auteur is not dead, but has become a marketing tool. In the second chapter, I have then fleshed out the different motifs that establish Gondry as an auteur (in different senses of the word), stipulating the continuity between his short and feature length films. In the third and final chapter, I draw on the work of MacDowell and Shaviro to elaborate on how the “tone” or “sensibility” of Gondry’s movies set him up as the new “homo oeconomicus” (Shaviro), for whom emotions are resources to invest. It becomes clear how Gondry creates himself as seemingly romantic auteur and in so doing brands “his emotions” to gain return.Show less
De Parijse fotograaf JR start in 2011 met het fotoproject Inside Out. In deze scriptie heb ik het spanningsveld dat in Inside Out tussen persoonlijke en sociale identiteit ontstaat onderzocht.De...Show moreDe Parijse fotograaf JR start in 2011 met het fotoproject Inside Out. In deze scriptie heb ik het spanningsveld dat in Inside Out tussen persoonlijke en sociale identiteit ontstaat onderzocht.De context waarbinnen Inside Out zich afspeelt en dan met name het feit dat het project zich in de publieke ruimte afspeelt, speelt hierin een belangrijke rol.Show less
