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61.
Slack cinema: Notes on genre and culture
by Elliott, Timothy J., M.A.  Iowa State University. 2011: 60 pages; 1494773.
62.
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.
63.
Behind the Mask: Unveiling a Transgender Story
by Dhinakaran, Sharon, M.F.A.  Regent University. 2017: 54 pages; 10634803.
65.
Male Bonding: A Queer Analysis of the James Bond Canon
by Hester, Grant C., Ph.D.  Florida Atlantic University. 2019: 165 pages; 13859017.
66.
Apparatuses, Globalities, Assemblages: Third Cinema, Now
by Benfield, Dalida Maria, Ph.D.  University of California, Berkeley. 2011: 123 pages; 3498767.
67.
Translating Bülent Ersoy’s Stylized Gender Performances in The End of Fame: A Case Study
by Susel, Kumru, Ph.D.  State University of New York at Binghamton. 2019: 195 pages; 13865557.
68.
The princess, the damsel, and the sidekick: Women as the "other" in popular films (2000–2011)
by Bogarosh, Nichole A., Ph.D.  Washington State University. 2013: 173 pages; 3598040.
69.
Monstrous Dialogues: “The Host” and South Korean Inverted Exile
by Turner, James Lloyd, M.L.A.  University of South Florida. 2012: 103 pages; 1508085.
70.
Super Savior/Destroyer: Superman, Smallville, and the Superhero Genre's Spectre of Monstrosity
by Fouladi, Shahriar, Ph.D.  University of California, Irvine. 2011: 347 pages; 3457264.
72.
Out of Our Depth: Hyper-Extensionality and the Return of Three-Dimensional Media
by Brecese, Justin Alan, M.L.A.  University of South Florida. 2012: 100 pages; 1508088.
73.
New voices in nonfiction film
by Green, Susan Leslie, M.A.  Prescott College. 2010: 34 pages; 1475955.
74.
Pocket Monsters: The Potential Power of Pocket Films, and the Birth of Pocket Cinema
by James-Erickson, Luke Hunter, M.H.  University of Colorado at Denver. 2017: 104 pages; 10289396.
75.
Crafting Digital Cinema: Cinematographers in Contemporary Hollywood
by Lucas, Robert Christopher, Ph.D.  The University of Texas at Austin. 2011: 391 pages; 3484422.
76.
Scenes A Restaurant Design Using Cinematic Concepts
by Nolley, Jennifer Tufaro, M.A.  The George Washington University. 2015: 77 pages; 1600802.
77.
Screendance: A Choreographic Tool and a Hybrid Dance Form
by Matthews, Nicole, M.F.A.  Mills College. 2018: 21 pages; 10817014.
78.
Ink and celluloid: A study of the Lazarillo de Tormes and its filmic adaptations
by Tapia, Carlos Fernando, Ph.D.  Georgetown University. 2007: 298 pages; 3339925.
79.
Political Reelism: A Rhetorical Criticism of Reflection and Interpretation in Political Films
by Walton, Jennifer Lee, Ph.D.  Bowling Green State University. 2006: 134 pages; 10817775.
80.
“It looks like sound!”: Drawing a history of “animated music” in the early twentieth century
by Robertson, Emily D., M.A.  University of Maryland, College Park. 2010: 90 pages; 1478133.
82.
On Darren Aronofsky's Filmography from 1998 to 2014: Obsessions, Addictions, and the Pursuit of Perfection
by Skorin-Kapov, Jadranka, Ph.D.  State University of New York at Stony Brook. 2014: 150 pages; 3686455.
83.
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.
84.
Prey
by Sun, Jing, M.F.A.  California State University, Los Angeles. 2018: 38 pages; 10787932.
85.
The Microphone on Film: Sound Collection and the Visual
by Kirshtner, Kelly V., Ph.D.  University of California, Irvine. 2011: 236 pages; 3457460.
86.
Engaging worldviews in the movies as a means of preserving the faith of young adults
by Bucknam, Jeffrey Ronald, D.Min.  Biola University. 2014: 212 pages; 3559475.
87.
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.
88.
Technohumanity: Films as a Lens for Examining How Humans and Technology Co-shape the World
by Buffington, Chelsea, Ph.D.  Salve Regina University. 2018: 197 pages; 10808905.
89.
Motion(less) pictures: The cinema of stasis
by Remeselnik, Justin, Ph.D.  Wayne State University. 2012: 173 pages; 3505303.
61 - 90 of 8062 displayed.
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