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31.
Playing with movies: An examination of the interactions between music and film in “Fantasie for horn and film”
by Mocilnikar, Gabrielle Eileen, M.M.  California State University, Long Beach. 2011: 28 pages; 1504511.
32.
El Madrid postmoderno: Identidades en proceso de cambio en el postfranquismo
by Lomas Sampedro, Esther, Ph.D.  State University of New York at Stony Brook. 2008: 271 pages; 3406703.
33.
In Local Hands: Participatory Media in the 1960s
by Tilton, Lauren Craig, Ph.D.  Yale University. 2016: 211 pages; 10584961.
34.
Translating Contemporary Japanese Culture: Novels and Animation
by Haga, Tadahiko, Ph.D.  State University of New York at Stony Brook. 2012: 220 pages; 3519050.
36.
Crafting Digital Cinema: Cinematographers in Contemporary Hollywood
by Lucas, Robert Christopher, Ph.D.  The University of Texas at Austin. 2011: 391 pages; 3484422.
37.
The Dawn of Cinematic Modernism: Iwanami Productions and Postwar Japanese Cinema
by Tsunoda, Takuya, Ph.D.  Yale University. 2015: 319 pages; 10013030.
38.
Alternate auralities on the American frontier: Resounding the Indian in the American Western film
by Niehaus, Emma Elizabeth, M.A.  University of Colorado at Boulder. 2016: 59 pages; 10124043.
41.
Nature, nation and the global in contemporary Norwegian cinema
by Henlin-Stromme, Sabine Brigitte, Ph.D.  The University of Iowa. 2012: 259 pages; 3516635.
42.
Scum Cinema: America Through the Eyes of the Exploitation Film
by Benash, W. Richard, M.A.L.S.  Dartmouth College. 2019: 797 pages; 13879566.
43.
Shock and contemplation: “Close Up” and the female avant -garde
by Troxell, Jenelle, Ph.D.  Columbia University. 2009: 235 pages; 3393613.
45.
Reality Bytes: Reclaiming the Real in Digital Documentary
by Landesman, Ohad, Ph.D.  New York University. 2013: 374 pages; 3557010.
47.
Confrontando caras: Confronting language, facing cultural identity
by Cordero-Campis, Lydia, M.F.A.  State University of New York at Buffalo. 2016: 53 pages; 10127796.
48.
49.
Slack cinema: Notes on genre and culture
by Elliott, Timothy J., M.A.  Iowa State University. 2011: 60 pages; 1494773.
52.
The Theory of Narrative Balance and its Application to High Stakes Fiction
by Maillet, Adam Michael, Ph.D.  University of Louisiana at Lafayette. 2015: 261 pages; 10002462.
53.
Visions of after the End: A History and Theory of the Post-apocalyptic Genre in Literature and Film
by Stifflemire, Brett Samuel, Ph.D.  The University of Alabama. 2017: 305 pages; 10635886.
54.
Censorship and Holocaust film in the Hollywood studio system
by Halbgewachs, Nancy Copeland, Ph.D.  The University of New Mexico. 2011: 236 pages; 3499299.
55.
Masculinities Under Pressure in Beirut's Independent Music Scenes
by Nickell, Chris, Ph.D.  New York University. 2020: 380 pages; 27542738.
56.
Blood runs: The circulation of Argentine horror cinema in Argentina and the United States
by Risner, Jonathan, Ph.D.  The University of North Carolina at Chapel Hill. 2012: 236 pages; 3512819.
57.
Movie audiences, modernity, and urban identities in Cali, Colombia, 1945-1980
by Arias Osorio, Maria Fernanda, Ph.D.  Indiana University. 2014: 524 pages; 3641826.
58.
A funny thing happened on the way to the cinema Shakespeare's comedies in film and television
by Lamb, Wendy Nicole, Ph.D.  University of California, Riverside. 2010: 264 pages; 3433868.
59.
31 - 60 of 41281 displayed.
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