“Get into the movies!”: the theme park’s relationship with post-classical Cinema
This discussion examines the growing relationship between cinematic texts and the theme-park industry. Primarily focused on the post-classical period in Hollywood and its relationship to theme-park environments, this thesis analyses the evolution of the movie-based attraction from a passive retellin...
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| Format: | Thesis (University of Nottingham only) |
| Language: | English English |
| Published: |
2017
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| Online Access: | https://eprints.nottingham.ac.uk/41918/ |
| _version_ | 1848796382334287872 |
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| author | Dixon, Alexandra Elizabeth |
| author_facet | Dixon, Alexandra Elizabeth |
| author_sort | Dixon, Alexandra Elizabeth |
| building | Nottingham Research Data Repository |
| collection | Online Access |
| description | This discussion examines the growing relationship between cinematic texts and the theme-park industry. Primarily focused on the post-classical period in Hollywood and its relationship to theme-park environments, this thesis analyses the evolution of the movie-based attraction from a passive retelling into an immersive and inclusive experience. The post-classical cinematic style, usually identified with the contemporary blockbuster movie, has its origins in the sensory experience of early cinema. I draw similarities between the two eras, emphasising the distinctiveness of a modern “cinema of attractions” that develops as films and theme-park rides become more closely intertwined. I elaborate the concepts of “immersion” and “inclusion” to describe and explain this process, identifying these as the distinguishing features of the evolving relationship between movies and theme-park attractions. Film-based attractions such as Back to the Future (1985), Star Wars (1977-2015) and Avatar (2009) exemplify how immersive and inclusive techniques are developed out of post-classical film aesthetics in order to enhance the affective experience of customers. Similarly, attraction-to-film adaptations, such as Disney’s Pirates of the Caribbean franchise (2003-present), combine immersion and inclusion with strategies of narrativization, incorporating film and attraction into a unified and self-referring storytelling world. |
| first_indexed | 2025-11-14T19:47:06Z |
| format | Thesis (University of Nottingham only) |
| id | nottingham-41918 |
| institution | University of Nottingham Malaysia Campus |
| institution_category | Local University |
| language | English English |
| last_indexed | 2025-11-14T19:47:06Z |
| publishDate | 2017 |
| recordtype | eprints |
| repository_type | Digital Repository |
| spelling | nottingham-419182025-02-28T13:44:29Z https://eprints.nottingham.ac.uk/41918/ “Get into the movies!”: the theme park’s relationship with post-classical Cinema Dixon, Alexandra Elizabeth This discussion examines the growing relationship between cinematic texts and the theme-park industry. Primarily focused on the post-classical period in Hollywood and its relationship to theme-park environments, this thesis analyses the evolution of the movie-based attraction from a passive retelling into an immersive and inclusive experience. The post-classical cinematic style, usually identified with the contemporary blockbuster movie, has its origins in the sensory experience of early cinema. I draw similarities between the two eras, emphasising the distinctiveness of a modern “cinema of attractions” that develops as films and theme-park rides become more closely intertwined. I elaborate the concepts of “immersion” and “inclusion” to describe and explain this process, identifying these as the distinguishing features of the evolving relationship between movies and theme-park attractions. Film-based attractions such as Back to the Future (1985), Star Wars (1977-2015) and Avatar (2009) exemplify how immersive and inclusive techniques are developed out of post-classical film aesthetics in order to enhance the affective experience of customers. Similarly, attraction-to-film adaptations, such as Disney’s Pirates of the Caribbean franchise (2003-present), combine immersion and inclusion with strategies of narrativization, incorporating film and attraction into a unified and self-referring storytelling world. 2017-07-21 Thesis (University of Nottingham only) NonPeerReviewed application/pdf en arr https://eprints.nottingham.ac.uk/41918/1/Full%20Draft%20%28edited-%20corrections%203%29.pdf application/pdf en arr https://eprints.nottingham.ac.uk/41918/2/Full%20Draft%20%28edited-%20corrections%203%29.pdf Dixon, Alexandra Elizabeth (2017) “Get into the movies!”: the theme park’s relationship with post-classical Cinema. MRes thesis, University of Nottingham. theme parks rides amusement parks cinema motion pictures films movies blockbusters |
| spellingShingle | theme parks rides amusement parks cinema motion pictures films movies blockbusters Dixon, Alexandra Elizabeth “Get into the movies!”: the theme park’s relationship with post-classical Cinema |
| title | “Get into the movies!”: the theme park’s relationship with post-classical Cinema |
| title_full | “Get into the movies!”: the theme park’s relationship with post-classical Cinema |
| title_fullStr | “Get into the movies!”: the theme park’s relationship with post-classical Cinema |
| title_full_unstemmed | “Get into the movies!”: the theme park’s relationship with post-classical Cinema |
| title_short | “Get into the movies!”: the theme park’s relationship with post-classical Cinema |
| title_sort | “get into the movies!”: the theme park’s relationship with post-classical cinema |
| topic | theme parks rides amusement parks cinema motion pictures films movies blockbusters |
| url | https://eprints.nottingham.ac.uk/41918/ |