BA (Hons) Film and Media
Permanent URI for this collectionhttps://eresearch.qmu.ac.uk/handle/20.500.12289/7239
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Item Item A study of the work of John Hughes, and the issue of class represented in his 1980s teen films.(Queen Margaret University, 2015)Item A Vegan's Experience on Twitter - How Social Networking Can Contribute to the Perception, Engagement and Awareness of Veganism.(Queen Margaret University, 2017)Item Absolution(2020)Item Always on call: Volunteering for the Coastguard(Queen Margaret University, 2015)Item An investigation into audience perceptions of weight-related reality television.(Queen Margaret University, 2015)This dissertation presents an investigation into audience perceptions of weight-related reality television, a sub-genre which has seen little attention within previous literature on reality television. A qualitative research method was selected in the form of a focus group to undertake this investigation. This method of data collection was chosen to allow for an in-depth understanding of how real audiences are seen to depict this specific genre of reality television.Item An investigation into the literature-to-screen-relationship with reference to a particular case study: the novel Jane Eyre by Charlotte Bronte.(Queen Margaret University, 2015)This will be an exploration of the challenges involved in translating classic literature to the screen. I intend to draw upon the theories that address the significant aspects of this complex relationship with particular focus on Jane Eyre, referencing past and present working practices with examples from a three adaptations to illustrate the diversity of potential outcomes. I have concentrated on the portrayal of the two main female protagonists and queried the notion of Jane herself as a feminist trailblazer.Item An investigation into the place of queerness in 'drag': A textual analysis of RuPaul's Drag Race.(Queen Margaret University, 2017)Item Changing representations of masculinity in Irish cinema post 2008 economic recession(Queen Margaret University, 2016)Introduction: Over the last 100 years the Republic of Ireland has undergone a number of significant changes. It began with Ireland gaining its independence in the 1920s, through 'The Troubles' of the 1970s and 1980s, up and until the economic boom and bust of the 2000s. Over the decades Ireland has had a tumultuous relationship with issues surrounding gender and sexuality, from the Magdalene Laundries, the Catholic Churches abuse scandal, up to and continuing on from more positive aspects such as the marriage equality referendum in 2015. The primary aim this dissertation hopes to achieve is a detailed examination of how representation of Ireland's men has changed in the last number of years. The previous twenty years has seen Ireland undergo more change than ever as an independent country and the past eight years has seen the country trying to cope with recovering from the most devastating economic recession in a generation. In a survey published in 2015 Ireland was ranked as one the happiest places to live in Europe. However in spite of this apparently happy place to live Ireland has an exceptionally high suicide rate among men, one of the highest in Europe. What will be analysed in our texts is the ways in which they comment upon masculinity in Ireland following the 2008 economic crash and ultimately whether they view Ireland as a positive place for men. The texts chosen to be examined are "Calvary", "The Guard" and "What Richard Did". The reason these films were chosen from among the many films released in Ireland in the last eight years is that they offer the most in terms of masculine characters and explorations of men in Ireland and they ways in which they have been affected by the changes in their country over the last number of years. The attributes associated with masculinity have undergone a number of changes in recent times and ideas surrounding gender identity have never been more hotly debated. It is the aim of this research to determine how this conversation is taking place in modern Ireland. The dissertation will consist of a literature review composed of independent research which will detail what we mean when referring to masculinity, Irish masculinity, national and specifically Irish film. We will then move onto the textual analysis which will focus on the afore mentioned texts. The analysis will be built around identifying tropes and stereotypes as detailed in the literature review and applying these to the texts to see in what they conform and subvert the relevant scholarship. We will finish by answering the question; "In what way is masculinity represented in Irish cinema post 2008?"Item Contemporary Greek cinema after the financial crash: investigating style, form and the (trans)national debate.(Queen Margaret University, 2016)Introduction: The topic of this dissertation, as the title suggests, is to focus on a recent trend in contemporary Greek cinema following the world wide economic crash from 2008 onwards. Greece, during this time, has seen record levels of unemployment and national debt, as well as a political framework verging on the brink of collapse. However, countering this is an emerging trend of new filmmaker's whose work has grown out of the recession, what is now commonly referred to as the 'Weird wave of Greek cinema' (Papadimitriou 2014, p.3). This dissertation attempts to investigate the weird wave's national and transnational dimension. By using a selection of recent examples, a study of the family in contemporary Greek and European cinema will compliment the formers findings, which, as shall be shown, becomes one of the clearest ways ideas around the national and the transnational can be investigated. This dissertation doesn't make a clear decision on whether these films are purely national or transnational; it is more about the way these films, from an ideological standpoint, interact with the local and the global, and how it effects this contemporary moment in Greek culture and society.Item Contemporary Superwomen: Black Widow's Representation within her Cinematic and Graphic Worlds: Feminism-forged Heroines in a Post-feminist World(Queen Margaret University, 2016)Introduction (part): Over the past two decades, comic book film and television adaptations have gained traction within a mainstream media-dominated world, earning millions as blockbuster hits and forming new and influential identities to well-known and well-loved heroes and villains alike. Superwomen have been, as with superheroes, changing with the times, influenced by the social and political mythos of various time periods. What was paved by Wonder Woman in her first appearance in 1941; to the many superwomen and supergirls that inherited the feminist undertones these representations carry, both superwomen representation and feminism is ever-changing. Using the most recent and apparent 'superwoman', Natasha Romanov, better known as Black Widow within her cinematic depictions by Scarlett Johansson: 'Iron Man 2' (2010), The Avengers (2012), 'Captain American: Winter Soldier'(2014) and The Avengers: Age of Ultron (2015), as well as the comic book series written by Nathan Edmondson which was birthed from this cinematic world, 'Black Widow (2014); many of these shifting and varied feminist agendas can be brought into a contemporary focus. As Hopkins addresses; "A girl hero is literally a sign of the times" (HOPKINS, S. (2002) 'Girl Heroes: The New Force in Popular Culture' Pluto Press, Australia pp 5.) To deconstruct the modern superwoman is to unveil the feminism of the time, just as 'Buffy the Vampire Slayer' ( 1997-2003) has come to encapsulate the agendas found in 3rd wave feminism of the 1990s and early 2000s; it is not unreasonable to suggest that the Black Widow has characteristics of a 'post-feminist' shift in mainstream media.Item Embodiment and Disembodiment in Contemporary Science Fiction: Postmodern body transcendence from a socialist feminist perspective.(Queen Margaret University, 2015)This dissertation seeks to understand the recent cycle of science fiction films that, through their depiction of posthuman characters, implicate female bodies inscribed with cultural and social rhetoric. This thesis shall analyse the female, posthuman bodies presented in Her (2013), Lucy (2014) and Ex Machina (2015) as texts coded with cultural and gendered anxieties. Looking at aspects of posthuman (gendered) sexuality, this thesis will demonstrate the extent to which these science fiction fantasies are indicative of a masculine response to technology in postmodern society. A response that, whilst provoked by post-God anxieties, makes misguided claims for a form of transcendence in which the mind is considered separable from the body.Item ‘Exorcising the Spectre: the representation of the fall of communism in former Warsaw Pact countries in 21st century European cinema.’(2018)Cinema tries to present major political change in a number of ways. The events that shape the kind of societies we live in across the world have a direct impact on the culture within these societies. Just less than thirty years ago the Cold War ended with the dissolution of the Soviet Union and the fall of communism across Eastern Europe. The Warsaw Pact nations - consisting of East Germany, Poland, Hungary, Czechoslovakia, Romania and Bulgaria - all later joined the European Union. Film can be used as a method of exploring different viewpoints to those found within traditional media. This study aims to consider films produced by former Warsaw Pact nations that are set during the fall of communism. In doing so, the representation of these major events and their impact will be analysed. To help structure this study, three main areas will be considered - the representation of ordinary citizens during the fall of communism; the common ideas, themes and motifs present within the films; and how the process of westernisation is represented as well as post-communist life overall.Item Float(Queen Margaret University, 2015)Item 'Freedom, Beauty, Truth and Love': An investigation into the storytelling techniques, mythology and style within Baz Luhrmann's Red Curtain Trilogy(Queen Margaret University, 2016)Introduction (part): The Red Curtain Trilogy is comprised of three films; Strictly Ballroom (1992), Romeo + Juliet (1996) and Moulin Rouge! (2001). The trilogy is the brainchild of director Baz Luhrmann, who set out to create the series as a way of demonstrating his Red Curtain Cinema technique, which is a combination of cinematic and theatrical elements, fused together by popular culture (Everett 2005, p. 1) This study aims to examine the theatrical elements within the trilogy, and discuss how they are implemented in order to further the narrative within each film. Ultimately, this study aims to establish that music is the most important storytelling device within each film in the trilogy. Each film uses a distinct theatrical motif; Strictly Ballroom uses dance, Romeo + Juliet employs Shakespearean language and poetry, while Moulin Rouge! uses song. When examining the storytelling within the Red Curtain Trilogy it is also pertinent to consider mythology, both in terms of its effect on the narrative and how it is used to ground each film in a world which "must be fantastic and new, yet also familiar at the same time" (Everett 2005, p.2). Finally, this study will consider the style of the Red Curtain Trilogy, and its significance in working to meld together theatre and cinema to create Luhrmann's brand of Red Curtain Cinema.
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