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- Family violence in motion pictures (1)
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Articles 1 - 5 of 5
Full-Text Articles in Arts and Humanities
The Filmmaker, The Subject And The Audience : A Dialectical Exploration Of Documentary Performance, Ben Stewart
The Filmmaker, The Subject And The Audience : A Dialectical Exploration Of Documentary Performance, Ben Stewart
Theses : Honours
Documentary filmmakers 11 engage directly in the study of the phenomena of life that surrounds us. We hold the ability to show and elucidate life as it is, considerably higher than the occasionally diverting droll games that people call theatre, cinema etc." (Vertov, 1984, p. 47). The ability to 'show and elucidate life as it is' is a controversial claim that the majority of academic documentary discussion is concerned with. I intend to add to this discussion through an exploration of performance and its pertinence to the ability of documentary to represent reality truthfully. The reception of documentary is significantly …
The Art Of Trash: Evaluating Troma Entertainment As Paracinema, James W. Macdonald
The Art Of Trash: Evaluating Troma Entertainment As Paracinema, James W. Macdonald
Theses : Honours
The aim of this research is to explore the anti-establishment function of the work of Lloyd Kaufman and his film studio, Troma Entertainment. The research focuses on Troma's capacities as paracinema, and examines how in relishing their derided position in the cultural field, Lloyd Kaufman's films represent an anti-establishment cinematic form, combating an institutionalised idea of cultural value. Through challenging the rules of taste, Lloyd Kaufman's films serve to push the boundaries of what is considered valuable in contemporary culture. Films that revel in their 'bad taste' through extreme themes, poor humour and amateurism, make a stand against the mainstream …
Hogarth To Monster Wheels : A Grotesque Connection, Christopher Ridley
Hogarth To Monster Wheels : A Grotesque Connection, Christopher Ridley
Theses : Honours
When an audience is exposed to deformed, altered and abnormal entities, their interpretation relies on some form of cultural awareness of both the expected and the altered shape to stimulate a reaction. I maintain that the stimulus for this reaction has its roots in a dark and terrifying primal force, the manifestation of which we regard as the grotesque. This thesis looks for a commonality in a satirical interpretation afforded to this grotesque force. By using the caricatures in William Hogarth's engravings and the altered cars in three contemporary films. I search for a correlation between the way Hogarth and …
Finding The Watermark: A Filmic Response To Domestic Abuse Within Australian Film From 1970 - 2006, Erin Nichols
Finding The Watermark: A Filmic Response To Domestic Abuse Within Australian Film From 1970 - 2006, Erin Nichols
Theses : Honours
Due to various social, international and economic encumbrances, Australian film has made a limited foray into the representation of domestic abuse. A limited number of films have been made on this topic since the early 1970's, and even then, the depiction of this social issue has been watered down and sanitised for mainstream consumption. It is the author's belief that the filmmaker has an important and highly influential opportunity to present a social commentary on issues and must not shirk that responsibility. The film project supported by this exegesis responds to the above concerns and the priority has been to …
Through The Window: The Subject And The Voyeur's Gaze Within Cinema And Video, James A. Doohan
Through The Window: The Subject And The Voyeur's Gaze Within Cinema And Video, James A. Doohan
Theses : Honours
The underlying theme of this thesis is that cinema and related media create sites in which the viewer becomes a kind of voyeur, and in doing so normalises the voyeuristic gaze. Relationships between those who possess the gaze and those who become the object of that gaze are structured both ideologically and through the apparatus of the camera itself. These ideologies are arguably driven by a patriarchal paradigm, particularly within mainstream cinema where men appear to control the gaze and women are positioned as the object of that gaze. Even within cinema however that appears to be explicitly misogynistic like …