| KEM I thesis |
|---|
| Name | Title |
|---|
| Adelaida Pardo |
"Creating Night with light: The aesthetical problem of night scenes exposed" |
| Ai-Lun Huang |
"An Analysis of Sex Scenes in Shame, Gone Girl and The Diary of a Teenage Girl" |
| Ahmed Abdelrazek |
"TIME - A mysterious process in the cinematic incidence" |
| Bojana Babic |
"Searching for Liberated Sexuality - The “Girl” in Dušan Makavejev’s W.R. Mysteries of the Organism and Maja Miloš’ Clip" |
| Clare Fogerty |
"Production Practices Exercised in the Making of Wild Game: A Technical Report" |
| Dagmara Kucinska |
"Cinematic aesthetics and narrative elements in videogames. How video games use film language to enhance their cinematic experience." |
| Dean Radovanovic |
"A quest for PATAPHORS" |
| Eduardo Cardoso |
"Scriptwriting from historical documents - Research methods in the making of 40 - Clash of Futures" |
| Francesco Crivaro |
"How to write a film with a movie camera. The camera calligraphy in Roof Knocking." |
| Farid Salamé |
"Genre Conventions vs Register - Techincal Report" |
| Ilija Cvetkovski |
Features of sound dramaturgy in horror movies |
| Indrek Soe |
"Blurring the line between sound design and music" |
| Ingemar Martinez |
"How Alice´s Adventures in Wonderland influenced IMPROMPTU. The storytelling of Impromptu, from the rabbit hole." |
| Jeronimo Sarmiento |
"Cinematic polyphony in Lucrecia Martel’s Cinema. The musicality of narrative film in ‘The Headless Woman’" |
| Krish Makhija |
"FEELING IN COLOUR: Creating the ‘Spin-Off’ Universe and understanding how green has evolved as a dramatic tool in narrative story telling." |
| Lucas Abrahão |
THE AFFECTS OF GUILT. Emotion and Ideology in José Padilha’s Tropa de Elite |
| Madlen Sieghartsleitner |
"Aspects of Elliptical Editing" |
| Richard Tettey |
“Between Reality and Fiction: a sound production approach on the film “Spin-Off".” |
| Saeid Behbahaninia |
"Tripping on The Holy Mountain: How The Holy Mountain Resembles Psychedelic Experience" |
| Sergio Cavazos |
"The uncertainty war: Applying entrepreneurial practices to micro-budgeting for short films: “Roof Knocking” technical report." |
| Sergio Malpica |
"The creation of multiple planes of reality. Magical realism Devices in Julio Medem’s Caótica Ana" |
| Sina Salimi |
"Last Stop: Self-Orientalism. Jafar Panahi’s Taxi Tehran And Its Representation of Iran" |
| Tiago Carvalheiro |
"Stranger, Therefore Tallinn.Technical Report on HEL-TLL-HEL" |
| Veli Rajassar |
"High concept vs. Low-budget - making an ambitious film with less than ambitious funding" |
| Yasir Kareem |
"Voice-Over as a Narrative Style in Terrence Malick’s Knight of Cups" |
| KEM II Thesis |
|---|
| Name | Title |
|---|
| Ana Victoria Falcon Araujo |
"Digital marketing strategies for next-generation film distribution" |
| Andrijana Krcmar |
"Creation and Destruction of Perception: Radical discontinuity montage as a tool for creating perceptual distortions between representations of fantasy and realism" |
| Cheng-Han Lin |
"LEARNING TO LET GO: Creating the visual world of ‘Mylissa’" |
| Doris Tääker |
"Directing one-shot films: the constant challenge of the lack of editing" |
| Gwenn Joyaux |
"The Hero’s journey for female characters women in Lucía Puenzo’s cinema" |
| Haendel Gabriel Guerrero Solis |
"How mixing supports emotional states n Coen brothers’ films" |
| Israel Bañuelos Loreto |
"Rhizomatic Sound Design" |
| Lkhagvadulam Purev-Ochir |
"Albert Serra’s the Death of Louis XIV (2016) According to Deleuze’s: Concept of affection-image" |
| Marie-Luise Scharf |
"WORLDBUILDING - Creating a Believable Story World for the Female-Only Community of Andros" |
| Merja Riitta Maijanen |
"Alfred Hitchcock's Use of visual symbols in vertigo" |
| Nenad Stefanoski |
"Unnatural Naturalness: A sound design semiotic approach into the inner feelings of the characters in a film" |
| Shruti Sidhan |
"The role of locations in a film: From narrative to production value” Technical report on the film “TOMORROW ISLAND" |
| Tom Butcher Cury |
"Screenwriters Are Writers: The Study of Poetics as an Enabler of Creativity" |
| Tshering Lham Thaye |
"THE BHUTANESE PICTURE: Analysing and developing a strategic picture of the Bhutanese Film Industry" |
| Vishal Vittal |
"The role of visual softness and sharpness in the design of a cinematic narrative" |
| KEM III Thesis |
|---|
| Name | Title |
|---|
| Anastasiya Maksymchuk |
"The cinematic World of Werner Herzog: Between documentary and fiction" |
| Andrés Enrique Losada Diaz |
"The Psychological stretch of Character in Gus Van Sant's Paranoid Park" |
| Cassiana Maranha |
"JOÃO CANIJO’S METHOD - THE WORK WITH ACTORS ON THE SHORT FILM "ACCEPTANCE"" |
| Fouad Halwani |
"The Trickster in serialized television- an anti-hero of postmodern mythologies" |
| Hisham Sharafeddine |
"Production Sound Techniques in One-Shot/Long-take Films" |
| Jacopo Meneghin |
"Painterly vision in Stanley Kubrick’s Barry Lyndon" |
| Jinling Wu |
"An Authorial Study of Milos Forman’s Czech Films" |
| Larissa Barbosa Curi |
"Expanding horror - The guidelines of Horror Screenwriting applied to crafting an original script" |
| Luka Ožegović |
"Phenomenologgy of selective omission of sound in film - How removing sounds affects the subjective perception of the viewer of films" |
| Maíra Scherer Correia de Araujo |
"Contemporary narrative: cultures and the influence of antiplot - An approach to Maniac (2018)" |
| Mariana Nunes Gomes |
"Framing as narrative device in Lucrecia Martel’s “The Holy Girl”" |
| Md Sarower Reza Jimi |
"Muslim characters in cinema after 9/11 as a tool of social critique: Study of characters in Mostofa Sarwar Farooki’s films that practice Islam as religion." |
| Nare Ter-Gabrielyan |
"Pictorial elements of composition: Mosaic of perspectives towards frontality in Sergei Parajanov's "The colour of Pomegranates"" |
| Noorahaya Lahtee |
"Expanding time and space: an analysis of the cinematic vision in selected films of Apichatpong Weerasethakul’s " |
| Sai Krishna Koppolu |
"Changing the protagonist of a film on the edit - "Bruxa" a technincal report" |
| Sina Saral |
"Bruxa Pre-production journal – technical report " |
| Sivasudhan Balamanohar |
"The role of a Cinematographer in a Student Film "Aceitação" - A Technical Report" |
| Tijana Todorovic |
"The use of genre film elements In Jovan Jovanovic’s fiction films" |
| Vita Tae Zorat |
"Visualizing atmospheres: a technical report on the cinematographic world of "Bruxa"" |
| KEM IV thesis |
|---|
| Name | Title |
|---|
| Alejandro Daza |
"ALMODOVAR DESIRE TRILOGY: Representation, creation and desire." |
| Ansah Fiona |
"Success or Failure: Analysis of the Trends in the Kumawood Industry" |
| Bjorn Hanson |
"(Un)Welcome to the Neighbourhood: An Interdisciplinary Analysis of Location Shooting" |
| Chinh Van Tran |
"The role of Thirdspace in crafting migrant identities: A case study of physical spaces, language, and memory in Lilting (2014)" |
| Clarice Laus |
"New Paradigms Of Independent Film Distribution: How Theater Release In The UK Is Being Affected By The New Consumer Habits Introduced By The Digital Revolution." |
| Danilo Miranda |
"THE CINEMATOGRAPHER’S CREATIVE PROCESS: In conversations with Acácio de Almeida" |
| Emeri Abel |
"Reconstructing the Narrator through Editing in My Days of Night" |
| Eric Palau |
"Cinematic Modes of Representation Expressing the Passage of Time: an exploration of the use of Ellipsis in feature film script Blink." |
| Johnny Farah |
"Cinematic Modes of Representation Expressing the Passage of Time: an exploration of the use of Ellipsis in feature film script Blink." |
| Julien Kai |
"Paintings as References in Contemporary Films A Case Study of Julian Schnabel’s At Eternity’s Gate (2018)" |
| Juulia Kalaveinen |
"Liminal landscapes in the films of Derek Jarman" |
| Kristo Kaas |
"The Unreliable Narrator in a Thriller" |
| Lawrence Agbetsise |
"CONTEMPORARY GHANAIAN CINEMA AND POST–COLONIAL PERSPECTIVES ON FAMILY" |
| Luka Milosavjevic |
"Sound design in films of Dystopia and Liminality - My Days of Night – Technical Report" |
| Margaryta Kulichova |
"Grey line between sound design and composing in HBO mini-series “Chernobyl”" |
| Maria Sabina Torres |
"The Use of Horror Film Clichés in the Current American Horror Film Cycle - A Case Study of The Invisible Man (2020) and Get Out" |
| Mariana Duarte |
"AT THE EDGE OF EUROPE: BORDERLANDS AND THE EXPERIENCE OF HUMAN DISPLACEMENT IN CONTEMPORARY DOCUMENTARIES" |
| Marina Morais |
"The Transmedial Screenplay: Screenwriting as a Fundamental Tool in Contemporary Film Adaptation" |
| Michele Diniz |
"Cinematography in Dystopian Content: a case study of The Handmaid’s Tale" |
| Ngima Gelu Lama |
"Writing a social drama striving against the Bollywood style." |
| Pedro Vital |
"Eisenstein’s Techniques of Montage applied in “Enter The Void” - A case study about how Eisenstein’s theories of montage affected the contemporary audiovisual media" |
| Seif el din Khaled |
"Over Shadi Abdel Salam’s “The Night of Counting the Years” (1969)" |
| Sergio Mauricio Romero |
"TROPICAL GOTHIC HORROR SCRIPT - Reviving the genre" |
| Tarun Madupu |
"THE MEANING AND EMOTIONAL IMPACT OF AURAL DYNAMICS IN FILM" |
| KEM V thesis |
|---|
| Name | Title |
|---|
| Aline Lima Silva |
"Creating Night with light: The aesthetical problem of night scenes exposed" |
| BEATRIZ TAFNER |
"How Asif Kapadia Represents Amy Winehouse in The Biographical Documentary Amy (2015)" |
| DIKESH KHADGI SHAHI |
"Sound and Music as Agents of Narrative in Dunkirk" |
| EDEM KODJO TENGUE |
"BFM as an instrument in developing national cinema. A case study." |
| Isaac James Knights-Washbourn |
"YOUR SCREENPLAY IS A PROBLEM A technical report on the script development approach to Framed in Time" |
| Ívar Erik Yeoman |
"Representation of Trauma in Ingmar Bergman’s Hour Of The Wolf, Autumn Sonata and Fanny and Alexander" |
| Laura Garcia |
"Cinematic Representations of Loss and Grief: The Ethics and Aesthetics of Contemporary Mexican Documentary" |
| Maria Camila Arriaga Torres |
"A body in dispute, a territory to conquer. Women and War in Colombian Contemporary Cinema" |
| Martini Conquilla |
"The Hypertext of the Streaming Era: Netflix's Interactive Films" |
| Mauricio Sanchez Garza |
"The New Models of Cinema Sound: The Use of Internal Sound Perspective in The Film Arrival" |
| Mazin Helal |
"The Aesthetics of Silence in Steve McQueen's film "Hunger"" |
| Nađa Lapčević |
"The Spontaneous, The Planned and The Rehearsed: Sean Baker’s Filmmaking Method" |
| Prem Jyothis Chonat |
"Implications of Cinematography in tondoscope" |
| Rafael Soares de Melo |
"The Meaning of Flashbacks in Jean-Marc Vallée’s Sharp Objects" |
| Ragne Mandri |
"THE CHILD IN JAAN TOOMING’S AND VIRVE ARUOJA’S ‘COLORFUL DREAMS’" |
| Ramaswamy Manogaran Ramprasad |
"Cinematic world and the politics involved in Santosh Sivan's Films" |
| Samvaran Prethu Rai |
"The Dialect of sound in Film: Making sense of Linguistic creativity in Wall-e" |
| Stela Aguiar Carneiro Ferreira |
"THE MATRIXIAL GAZE IN CÉLINE SCIAMMA’S "Portrait of a Lady on Fire"" |
| Sushant Bhat |
"Adapting Gender Roles: The Two Women in Devdas (2002) and Dev.D (2009)" |
| Tul Rodríguez |
"The female Other in film narrative: The case study of "Erika Kohut" in La Pianiste " |
| KEM VI thesis |
|---|
| Name | Title |
|---|
| Andjela Lazic |
"The Fantastic and the Afrosurreal in Contemporary Television: A Case Study of Donald Glover’s Atlanta" |
| Angela Patricia Duque Gutierrez |
"The standardization problem in films: Montage as a meaning-changing tool. A comparison between David Lynch’s Dune (1984) and the fan-edited Dune: The Alternative Edition Redux (2012) as a case study of how editing can have an important impact on gender representation." |
| Caroline Andressa de Biagi |
"LIMINALITY AND LANDSCAPE IN RECENT BRAZILIAN COMING OF AGE FILMS" |
| Fadi Al Saghbiny |
"The Representation of Light in Luminism and Cinematography" |
| Fareeda Ayisha Muhammed |
"Doors As Chronotope Of Threshold: Symbolisation Of Economic Disparity In The Films Of Majid Majidi And Bong Joon Ho" |
| Felix Egon Jacques Cognard |
"Designing creative subtitles for Firedamp Exploration of a trial approach from the director’s perspective: desk research, interviews, and case study" |
| Hassan Akil |
"MONTAGE AS A DEFINING FEATURE OF NARRATIVE IN NON-VERBAL DOCUMENTARIES LIKE KOYAANISQATSI (1982) AND BARAKA (1992)" |
| Hind Kammourieh |
"Bandersnatch's Audience: A Choice or a Future of an Industry?" |
| Isabella Cristina Schisler Giordano |
"THE REPRESENTATION OF BLACK WOMEN IN FILM: AN ANALYSIS OF COSTA'S VITALINA VARELA AND NICÁCIO AND ROSA'S CAFÉ COM CANELA" |
| Jiali Liang |
"CINEMATIC SPACE IN RYUSUKE HAMAGUCHI’S FILMS" |
| Kelton Smith |
"The Homosexual Disaster: an investigation of representation in contemporary British gay films" |
| Lauri Tomas Oscar Elstelä |
"GROTESQUE IN BORDER" |
| Lou-Andrea Fiere |
"The haunted house in cinema: A study of James Wan’s The Conjuring" |
| Matheus Peçanha Navarro Oliveira |
"INTERNATIONAL CO-PRODUCTION AND SOUTH-SOUTH POLICY IN THE BRAZILIAN FILM PRODUCTION: ORIGINS, RESULTS, AND IMPACTS OF PRODECINE 6 COPRODUCTION FUND IN BRAZILIAN AND LATIN AMERICAN CINEMA" |
| Matthew James Part |
"SOUND DESIGN FOR VR FILMS – ARE CINEMATIC VR PROJECTS ENABLING THE CREATION OF A NEW SONIC LANGUAGE FOR ENGAGEMENT?" |
| Nevena Semova Semova |
"THE POWER OF THE NON-EXISTENT ACOUSMÊTRE IN THE HUMAN VOICE (2021)" |
| Nikola Vucinic |
"MICHAEL HANEKE’S HIDDEN: USE OF GENRE IN FRAMING GUILT" |
| Sangam Panta |
"ADAPTING SUBJECTIVITY “POINT-OF-AUDITION”: A SOUND PRODUCTION APPROACH ON THE FILM “VÕÕRAD”" |
| Shehryar Khan |
"PERFORMATIVITY OF MIXING: AN ANALYSIS OF FILM SOUND MIXING THROUGH THE LENS OF PERFORMANCE THEORY" |
| Swapnil Arjun Domade |
"Filmic Ekphrasis of Amit Dutta: Enactment of Miniature Paintings into Cinematograph" |
