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Thesis Movie

My name is angela. they're going to kill me..

While doing a thesis about violence, Ángela finds a snuff video where a girl is tortured until death. Soon she discovers that the girl was a former student in her faculty... themoviedb

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Tesis (1996)

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While doing a thesis about violence, Ángela finds a snuff video where a girl is tortured until death. Soon she discovers that the girl was a former student in her faculty... While doing a thesis about violence, Ángela finds a snuff video where a girl is tortured until death. Soon she discovers that the girl was a former student in her faculty... While doing a thesis about violence, Ángela finds a snuff video where a girl is tortured until death. Soon she discovers that the girl was a former student in her faculty...

• Alejandro Amenábar
• Ana Torrent
• Fele Martínez
• Eduardo Noriega
• 134 User reviews
• 59 Critic reviews
• 15 wins & 6 nominations

• Bosco Herranz

• Padre Angela
• (as Francisco Hernández)
• Madre Angela
• Presentadora T.V.
• Conserje Videoteca
• Encargado tren
• Encargada C. Ventas

• Profesor 1º
• Profesor 2º
• Vigilante Tren
• All cast & crew
• Production, box office & more at IMDbPro

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Did you know

• Trivia When Angela ( Ana Torrent ) is accessing the warranty database, director Alejandro Amenábar 's name appears as a warranted customer of an XT-500 video camera.
• Goofs When Professor Figueroa finds the door to the secret library, before he enters, he wears glasses. In he next shot, as he enters the door, the glasses are gone, but they come back some shots after.

Bosco : What color are my eyes?

• Connections Featured in Cómo se hizo 'Tesis' (1996)
• Soundtracks Máquinas en Celo Written by Ingresó Cadáver Performed by Ingresó Cadáver

User reviews 134

• Jun 2, 2002
• How long is Thesis? Powered by Alexa
• What are the differences between the Korean DVD Version and the Original Version?
• November 20, 2016 (United States)
• Official site
• Ám Ảnh Bạo Lực
• Facultad de Ciencias de la Información, Madrid, Madrid, Spain
• Las Producciones del Escorpión
• See more company credits at IMDbPro
• €721,214 (estimated)

Technical specs

• Runtime 2 hours 5 minutes

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1996, Mystery & thriller/Horror, 2h 5m

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Thesis   photos.

A Spanish film student (Ana Torrent) finds a videotape showing the torture and murder of a missing coed.

Genre: Mystery & thriller, Horror

Original Language: Spanish (Spain)

Director: Alejandro Amenábar

Producer: José Luis Cuerda

Writer: Alejandro Amenábar

Release Date (Streaming): Nov 20, 2016

Runtime: 2h 5m

Production Co: Las Producciones del Escorpión S.L., Sogepaq

Sound Mix: Dolby

Cast & Crew

Ana Torrent

Fele Martínez

Eduardo Noriega

Rosa Campillo

Miguel Picazo

Javier Elorriaga

Nieves Herranz

Olga Margallo

Alejandro Amenábar

José Luis Cuerda

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Effed Up Movies

Tesis (1996).

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Avg Rating: 4.4 / 5. Voted: 88

No one cared thus far. Do you?

AKA: Thesis Year: 1996 Directed by: Alejandro Amenabar Starring: Ana Torrent (Angela), Fele Martínez (Chema), Eduardo Noriega (Bosco), Xabier Elorriaga (Prof. Castro), Miguel Picazo (Prof. Figueroa) Country: Spain, European Cinema Language: Spanish (English subs) Runtime: 02:04:08 Genres: Snuff , Serial Killers , Violence against Women

Plot – Spoilers: Angela has a developing taste for the morbid and decides to prepare a thesis on the subject of Audio-Visual Violence. Her University Professor, though initially skeptical, encourages her and offers to help with access to some of the more effed up sections of the Uni’s cinema archives.

From an academic viewpoint, she attempts to befriend a weird guy at school, Chema, who’s notorious for his collection of effed up cinema apart from his choice of tshirts that include a Cannibal Holocaust ode. Chema is socially awkward but invites her over to watch some of his greatest hits, because she is “gorgeous”, as he puts it.

Things however begin to get murky when Angela’s Prof dies while watching a movie he borrowed from the School archives – Angela later finds it to be a snuff movie of a college girl who went missing couple years before. She shows it to Chema who activates his sleuth mode and tries to extract clues from the video. Meanwhile, Angela finds herself sexually enamored by a mysterious student Bosco, whom Chema hates and is jealous of.

Within no time however, Angela becomes the next target for the snuff movie makers, and she finds herself suspecting everyone around her.

• ← Taxidermia (2006)
• Savage Grace (2007) →

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El Metodo (2005)

holy tarnation

Silly Bosco. Had he checked that the girl had a knife hidden, he would have taken it away. Then he’d have his time with the girl. And all of us would have received the ending that we really wanted.

chema is just like me fr

Good performances, terrific dialogue, and an interesting mystery, rather like some Italian 70s horror movie, but without any horror, gore, and nudity. The early scene on the train is a knockout – to spare the passengers any distress the guy tells passengers NOT to look at the body on the tracks, then follows this with “she’s been cut in two!”

chema is so cute. a strange little dude who loves snuff films…we all probably can see ourselves in him. plus his relationship with angela was really sweet.

“Death to Videodrome – Long live the Spirit of the Beehive” – #44

Give the people what they want. What a great film! Great mix of psychological thriller and even comedic elements. Great acting and memorable leads!

very sad that chema gets no pussy 🙁

Snuff 102 and Tesis , two great spanish movies!

Great movie

Chema is the best! He should practically be on the banner for this website as the mascot, he is us lol.

long, boring, and overrated. I watched it becuase of the 4+ stars. Couldn’t get over the many plot flaws.

Suspenseful, thrilling and keeps you guessing until the end. Highly recommend!

I enjoyed this film. Granted, there were a few holes in the plot, but hey everything seemed to come together at the end. Well made. Well acted. Well written and well filmed. Still, I wish we would have gotten to see the guy bisected by the train…. Now I’d buy that for a dollar!

This is my favorite movie of all time, it’s been for 10 years now. Good to have it here.

Solid film. Very DePalmaesque.

I enjoyed this film. Thanks for adding it this site!

Does this have English subs?

Honestly a fantastic film. Very relatable and funny character in Chema, and an excellent performance from the protagonist. The plot keeps you guessing and engaged till the very end. Overall would highly recommend.

First Impression: 8.8/10

Jotted Lines

A Collection Of Essays

Tesis / Thesis (1996 Movie): Summary & Analysis

Summary: .

Film student Ángela is writing her thesis on violence in audiovisual media. At the university, she discovers the body of her thesis director, Prof. Figueroa, who died while watching a video that turns out to be a snuff film. The plot of this psychological thriller unfolds through Ángela’s research on the disappearance of a former classmate, tortured and murdered on tape. Unsure about whom to trust, Ángela is targeted as the next victim as she draws closer to exposing an underground ring of snuff films produced by a fellow student and professor. Set in the 1990s, the film engages a critique of violence in television and film, market forces producing audiovisual media, and voyeuristic desires of audiences, as well as the burgeoning practices of security camera vigilance in public spaces. 

Amenábar’s feature-length debut, a psychological thriller of the intrigue genre about ‘snuff’ film, is in many ways an exploration into the darkest underside of the demand for spectacle in which visual media are produced, whether for television or film. As the film student Ángela pursues research for her thesis on audiovisual violence (‘a daily occurrence in film and television’), her desire to view footage all too graphic to appear in the media is eclipsed by the dangers of exposing an underground ring of snuff films produced in the university. It is this turn from Ángela’s interest in viewing graphic violence to the threat that she herself could become the next victim of a snuff film which structures the narrative for viewers, similarly to the genre of a detective thriller whodunit, in which all relationships outside the family are suspect. The ensuing intrigue confronts viewers with complex questions about spectatorship itself in which the morbid interest in seeing tortured and mutilated bodies censored from the public eye is satisfied by an underground market that must ‘give the audience what it wants to see’, as Professor Castro (one author of the snuff ring) lectures to his film students. In this sense, the notion of desire constructed in the film is understood as a complex, intersecting terrain of psychological, market-driven, and sociocultural factors which generate, at once, the spectator’s libidinal desire to consume censored images, an underground market of snuff film produced in response to the demand for violence, and the gendered roles of the characters as either objects or perpetrators of this violence, among others. The demand for morbid images, in other words, exists within a market economy inseparable from the characters’ fascination with and horror for ‘real’ explicit visual material that is censored or in the case of Ángela’s research subject, conspicuous in the media. 

Notably, it is only once Ángela perceives that she is being pursued as the next victim of the snuff ring, as the very object of filmed violence which both terrifies and intrigues her, that her desire to view graphic images begins to wane, leading her to abandon her research altogether by the end of the film. Nevertheless, Ángela’s ambiguous transformation from a subject who desires to see recorded violence to become herself a target of ‘real’ violence is not entirely clear given that Amenábar constructs desire for his audience in less simplistic terms.1 Viewers are shown images of Ángela peeking through her fingers to catch a glimpse of the filmed horror that so fascinates her, an ambivalence which is evidently more complex in her character’s psychological portrait. For, Ángela also fantasises about a sexual encounter with the suspect Bosco in a disturbing dream sequence which oscillates between Ángela’s terrified resistance to her aggressor, who subdues her in bed with a suggestive phallic switchblade, and her erotic attempt held at knifepoint to seduce Bosco, which could be read as a survival tactic were it not for the director’s choice to portray this scene disturbingly with evident lust. To her horror, a dreaming Ángela realises that she is being filmed during the sex act, as an object of desire targeted for annihilation, which draws a clear parallel for the film’s viewers between woman as object in pornography and the brutal victimisation of the innocent in snuff. This parallel is furthermore reinforced by an earlier shot of the university film catalogue in which hardcore ‘pornography and other films’ (snuff) are categorised and archived together. The dream sequence, along with the late revelation that Ángela has been filmed secretly at home by her co-researcher Chema – a recording in which she caresses and kisses the image of Bosco displayed on the television screen – emphasises the perverse trappings of a desire through which Ángela’s character, unknown to the film’s audience, had demonstrated a conscious, invested sexual interest in the suspect Bosco, caught on tape. The voyeuristic recording likewise exposes her projected desire for simulacrum in the form of images (in film, television), a scene with greater social implications than Ángela’s character portrait alone. Sexual desire is played out similarly in displaced ways among other characters, in Bosco’s attempt to seduce Ángela’s unsuspecting younger sister, in Ángela’s ‘feigned’ kiss with Bosco in order to distance her sister from the suspected assassin, in the alleged jealousy of Bosco’s girlfriend towards Ángela, in Chema’s voyeuristic recording of Ángela, and even between men in Bosco and Chema’s former friendship which remained a secret to Ángela, a suspicious matter when this bond was revealed to her by Bosco’s girlfriend. 

In this sense, Ángela’s confession earlier in the film ‘I don’t like to be recorded’ echoes Amenábar’s recurrent questioning of camera vigilance and its blurred distinction between the public eye and private intimacy, whether subjects are deliberately filmed, as in these scenes, or passively recorded by the university’s security cameras which provide evidence to incriminate Ángela in the discovery of Professor Figueroa’s dead body in the auditorium. Viewers might draw an immediate comparison between the growing presence of security cameras in public space at the time of the film’s release and Amenábar’s critique of camera vigilance, both public and private. Moving beyond this initial assessment, the film also suggests that even when institutional vigilance is justified under the guise of security (i.e., mandated by the university or state), and thereby presumably void of subjective interest, a voyeuristic desire indeed underpins authority and serves to both conserve and usurp it; as viewers will remember, the closed circuit cameras incriminate Ángela, but also film Professor Castro’s suspicious lurking presence in the university film archive before Figueroa’s death. 

In its increasingly muddied distinction between the public and private, intimacy and vigilance, the film also problematises the strict separation between access to mediated (recorded or simulated) violence in the form of images and ‘real violence’ experienced in the first person.2 Viewers are reminded throughout the film that any absolute distinction between the ‘mediated’ and the ‘real’ – whether desire, violent images, or otherwise – is ultimately ungrounded. Ángela asks Chema if he has ever seen a real dead body, which gives way to two interpretations: Chema asserts that he has, in the explicit video recordings he watches with Ángela, and yet to the contrary, for Ángela audiovisual violence is not ‘real’ per se (she argues, ‘not on television, but a real dead body’). From the film’s opening sequence in a train station, in which Ángela approaches the train tracks desiring to view a ‘body split in two’ that is never actually seen (through the camera that occupies her first-person gaze), Amenábar structures the film’s imagery, and at times Ángela’s sight, through similar camerawork that seldom shows significant footage of gore, if at all.3 Instead, the characters’ horror is transmitted to the audience through shots of their expressions when viewing the snuff film and, most importantly, through the viewer’s psychological response when imagining violent images through the use of diegetic and non-diegetic sound, particularly in the victim’s chilling screams for help as she is being tortured. In fact, Amenábar’s choice not to show viewers significant violence or gore, but rather to play on the viewer’s horror by imagining this violence through sound, is perhaps most noteworthy for film students interested in Amenábar’s use of diegetic and non-diegetic sound in conjunction with the full omission of visual information (i.e. established as a motif in the opening sequence with a recorded voice-off which fades to the first frame).4 Chema and Ángela’s tense adventure into the cellar of the university archives, equipped with only a box of matches that must be lit consecutively, also plays with the audience’s ability to see only the duration of each lighted match, interspersed with shots of complete darkness which play upon the viewer’s expectations of surprise in the thriller genre. Such is the nature of Ángela’s psychological, imaginative horror when she chooses not to view the snuff film, at first, but darkens her television screen through the contrast function so that only the audio recording can be heard, which proves disturbing for her character in later scenes, as she listens obsessively to the film’s audio recording on her portable tape recorder. 

Nevertheless, it should be noted that when violent images are shown to the film’s viewers, Amenábar often chooses to demonstrate the characters’ ability to analyse them critically. For, the rapid advances in digital camera technology at the time are what lead Chema and Ángela to deduce the brand of camera used to record the snuff film, through a close analysis of the recording’s image quality, as well as the camera’s date of release and purchase, which would serve as vital information to track down Professor Castro and Bosco as leaders of the snuff ring. Chema and Ángela furthermore provide a ‘close visual reading’ of the quick jump cuts in post-production editing, which aim to delete the victim’s mention of her torturer’s name, allowing them to conclude that the victim knows her murderer. It could be argued that these two fundamental pieces of information, used to crack the case, are derived from the protagonists’ critical analysis of graphic images, providing a similar key to Amenábar’s proposal for his viewers to deconstruct their own relationship to violence with critical reflection. 

One should note that the word morbo used to describe Ángela’s ‘morbid’ desire to view extreme, violent images, is defined in Spanish as both ‘an unhealthy interest in persons or things’ and ‘an attraction to unpleasant events’. In this sense, the film’s dark reflection on spectatorship and the morbid fascination with explicit images in the media may be traced to the film’s release, contemporary to the upsurge in violence in Spanish cinema at the time, noted by Jordan and MorganTamosunas, Klodt, Moreiras-Menor and Tierney, among others, as well as the flourishing of the first private television networks in Spain in the 1990s. Summarised in the market-driven maxim of Professor Castro on the film industry, to provide viewers literally with what they most desire to see, programming in commercial television is largely dependent upon the number of viewers in a given audience share, supported by advertising spots (see Maxwell 1995). It is no surprise that Amenábar closes the film, then, with a sequence of images from a fictitious sensationalist news show, Justice and Law, whose anchor summarises the ‘unbelievable’ and ‘macabre’ story of gruesome murders of disappeared girls found on tape. Framing for her audience that it is ‘not easy for us to show these images,’ the anchor both conditions the viewer’s expectations before seeing the footage (‘and now, the images you’ve been waiting for’) and justifies the broadcast as ‘a document by itself’, unmediated and lacking critical analysis. In this final sequence, the camera shows Chema and Ángela walking through the hallway of a hospital, interspersed with images of patients fixated on the same television broadcast, a suggestive critique of a greater social desire to view violence in televised media, which is not altogether unique to Spain.5 Keeping in mind the film’s potential to question intimacy, vigilance, and the increasingly blurry distinction between the public and private – a more subtle gesture than the explicit nature of extreme violence in the film’s exploration of snuff – one could conclude in this final scene that Amenábar proposes a greater social critique of the production of and desire to consume images in a market-driven economy that jettisons ethical considerations in favour of audience share or box office revenue. In other words, the viewing audience most desires to consume, with morbid fascination, not only violence but voyeurism in which private matters are made public – the form of television programming that defines sensationalist news media and the gossip varieties of popular talk shows that turn the intimate details of private lives into spectacle-driven commodities for mass consumption. After all, perhaps summarised most disturbingly for the film’s viewers, when Ángela kisses the television screen, her secret desire for the assassin is only made public, terrifyingly and intriguingly so for the viewing audience, when caught on tape. 

Notes 

1. As Cristina Moreiras-Menor argues, ‘Lejos … de ser una película que trabaja exclusivamente en torno a la mirada fascinada del sujeto contemporáneo hacia la violencia, Tesis va más allá al exponer tanto su razón, la espectacularización masiva e indiferencia de la realidad, como su origen, la formación del sujeto y la manipulación de su mirada a la realidad a partir de procesos simbólicos de educación asentados fundamentalmente en estructuras de poder (institucionalizadas) que privilegian la espectacularización consumista del lado más sórdido de la naturaleza humana y social’ [Far … from being a film that works exclusively around the fascinated gaze of the contemporary subject towards violence, Tesis goes beyond this to expose both its raison d’être, mass spectacularization and indifference towards reality, and its origin, the formation of the subject and manipulation of the subject’s view of reality from symbolic processes of education seated fundamentally in (institutionalized) structures of power that privilege consumerist spectacularization of human and social nature’s most sordid side.] (Moreiras-Menor 2002: 260). 

2. See Dolores Tierney, ‘The Appeal of the Real in Snuff: Alejandro Amenábar’s Tesis (“Thesis”)’, Spectator – The University of Southern California Journal of Film and Television, Vol. 22, No. 2, Fall 2002, pp. 45–55. 

3. As Amenábar notes, ‘opté por el camino opuesto, mirando hacia el otro lado, a la cara de los actores, jugando con la proyección psicológica del espectador, con lo que no está viendo, con lo que se está imaginando’ [I chose the opposite route, looking the other way, at the actors’ faces, playing with the psychological projection of the viewer, with what one is not seeing, with what one is imagining.] (Marchante 2002: 59). 

4. See Dominique Russell, ‘Sounds like Horror: Alejandro Amenábar’s Thesis on AudioVisual Violence’, Canadian Journal of Film Studies, Vol. 15, No. 2, Fall 2006, pp. 81–95. 

5. See Jason E. Klodt, ‘En el fondo te gusta: Titillation, Desire, and the Spectator’s Gaze in Alejandro Amenábar’s Tesis’, Studies in Hispanic Cinemas, Vol. 4, No. 1, 2007, pp. 3–17. 

Cast and Crew:

[Country: Spain. Production Company: Las Producciones del Escorpión and SOGEPAQ. Director: Alejandro Amenábar. Executive producers: José Luis Cuerda and Emiliano Otegui. Screenwriters: Alejandro Amenábar and Mateo Gil. Cinematographer: Hans Burmann. Music: Alejandro Amenábar and Mariano Marín. Editor: María Elena Sáinz de Rozas. Cast: Ana Torrent (Ángela), Fele Martínez (Chema), Eduardo Noriega (Bosco Herranz), Xabier Elorriaga (Castro), Miguel Picazo (Figueroa), Nieves Herranz (Sena), Rosa Campillo (Yolanda).] 

Further Reading 

Barry Jordan and Rikki Morgan-Tamosunas, Contemporary Spanish Cinema, Manchester University Press, Manchester and New York, 1998. 

Oti Rodríguez Marchante, Amenábar, vocación de intriga, Madrid, Páginas de Espuma, 2002. 

Steven Marsh and Parvati Nair (eds), Gender and Spanish Cinema, Oxford and New York, Berg, 2004. 

Rosanna Maule, ‘Cultural Specificity and Transnational Address in the New Generation of Spanish Film Authors: The Case of Alejandro Amenábar’, in Cristina Sánchez-Conejero (ed.), Spanishness in the Spanish Novel and Cinema of the 20th-21st Century, Newcastle, Cambridge Scholars, 2007, pp. 107–20. 

Richard Maxwell, The Spectacle of Democracy: Spanish Television, Nationalism, and Political Transition, Minneapolis, MN, University of Minneapolis Press, 1995. 

Cristina Moreiras-Menor, Cultura herida: Literatura y cine en la España democrática, Madrid, Ediciones Libertarias, 2002. 

Joan Ramon Resina (ed.), Burning Darkness: A Half Century of Spanish Cinema, Albany, NY, State University of New York Press, 2008. 

Paul Julian Smith, Television in Spain, from Franco to Almodóvar, Woodbridge, UK and Rochester, New York, Tamesis, 2006. 

Source Credits:

The Routledge Encyclopedia of Films, Edited by Sarah Barrow, Sabine Haenni and John White, first published in 2015.

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Watch Tesis

• 7.4   (41,929)

Angela is a young university student who is focusing on writing her thesis paper. The topic she has chosen to write about is violence in media and motion picture. Recently she has come across a movie that she plans to watch after her professor is through watching it. However, something mysterious and ultimately tragic ends up happening to the professor after watching it. It turns out after further discovery that this tape contains a supernatural power that kills any person who tries to view it. Angela and her friend Chema did not know of this before they decided to push play.

Tesis is a 1995 horror movie with a runtime of 2 hours and 5 minutes. It has received mostly positive reviews from critics and viewers, who have given it an IMDb score of 7.4.

• Genres Horror Thriller
• Cast Ana Torrent Fele MartÑnez Eduardo Noriega
• Director Alejandro Amenbar
• Release Date 1995
• MPAA Rating R
• Runtime 2 hr 5 min
• Language Spanish
• IMDB Rating 7.4   (41,929)

Thesis Stream and Watch Online

Watch 'Thesis' Online

Want to behold the glory that is ' Thesis ' on your TV or mobile device at home? Searching for a streaming service to buy, rent, download, or watch the Alejandro Amenábar-directed movie via subscription can be difficult, so we here at Moviefone want to do the heavy lifting. Read on for a listing of streaming and cable services - including rental, purchase, and subscription choices - along with the availability of 'Thesis' on each platform when they are available. Now, before we get into the various whats and wheres of how you can watch 'Thesis' right now, here are some finer points about the Sogepaq, Las Producciones del Escorpión S.L. thriller flick. Released , 'Thesis' stars Ana Torrent , Fele Martínez , Eduardo Noriega , Xabier Elorriaga The movie has a runtime of about 2 hr 5 min, and received a user score of 74 (out of 100) on TMDb, which collated reviews from 775 well-known users. Interested in knowing what the movie's about? Here's the plot: "While doing a thesis about violence, Ángela finds a snuff video where a girl is tortured to death. Soon she discovers that the girl was a former student at her college..." 'Thesis' is currently available to rent, purchase, or stream via subscription on Apple iTunes, Google Play Movies, and YouTube .

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1996 ‘Tesis’ Directed by Alejandro Amenábar

My name is Angela. They're going to kill me.

While doing a thesis about violence, Ángela finds a snuff video where a girl is tortured until death. Soon she discovers that the girl was a former student in her faculty...

Ana Torrent Fele Martínez Eduardo Noriega Xabier Elorriaga Miguel Picazo Nieves Herranz Rosa Campillo Paco Hernández Rosa Ávila Teresa Castanedo José Miguel Caballero Joserra Cadiñanos Julio Vélez Pilar Ortega Olga Margallo José Luis Cuerda Emiliano Otegui Walter Prieto Florentino Sainz Helena Castañeda

Director Director

Alejandro Amenábar

Producers Producers

José Luis Cuerda Alejandro Amenábar Hans Burmann Wolfgang Burmann Julio Madurga Ricardo Steinberg María Elena Sáinz de Rozas

Writers Writers

Alejandro Amenábar Mateo Gil

Editor Editor

María Elena Sáinz de Rozas

Cinematography Cinematography

Hans Burmann

Assistant Director Asst. Director

Executive producers exec. producers.

José Luis Cuerda Emiliano Otegui

Production Design Production Design

Wolfgang Burmann

Composers Composers

Alejandro Amenábar Mariano Marín

Sound Sound

Pelayo Gutiérrez Nacho Royo-Villanova Ricardo Steinberg

Costume Design Costume Design

Makeup makeup.

Paca Almenara

Sogepaq Las Producciones del Escorpión S.L.

Releases by Date

11 apr 1996, 26 jun 1997, 22 nov 1997, 22 apr 2003, 07 oct 2009, releases by country.

• Physical 18

Netherlands

• Theatrical 16
• Physical 16 DVD

South Korea

• Theatrical 18

125 mins   More at IMDb TMDb Report this page

Popular reviews

Review by claudia 🦋 ★★★★½ 6

my chemical romance = mi romance con chema

Review by TheDayILetGo ★★★½ 6

La escena más surrealista de la película es cuando el Chema se ducha

Review by IllMakeYouLaugh ★★★½ 1

Chema? More like Chemistry. Plz kiss me film daddy

Review by NoCopZone ★★★½ 4

~𝖕 𝖚 𝖗 𝖊 𝖉 𝖗 𝖊 𝖆 𝖉~

straight men are scary, the movie.

do they want to fuck you or kill you? yes

Review by kathleen ☆ *:･ﾟ ★★★★★ 1

i wish they had letterboxd

Review by Lola ★★★★

incel vs chad: the movie

Review by Gio ★★★★½

You know she’s a film major when she has a My Own Private Idaho poster in her room

Review by Jacob ★★★★ 12

Los delirios de Alfred Hitchcock han perseguido a toda una generación de cineastas, algunos charlatanes y otros dignos sucesores pero Tésis de Almenábar es mucho más que esto último.

Es un nuevo y transmutado sentido del pánico en un misterio lleno de sensaciones inquietantes. Las pistas falsas, revelaciones dentro de las revelaciones, personajes ambiguos, secuencias ensordecedoras y tensión para romperte los dientes pues el director español es todo un maestro en la construcción de atmosferas opresivas a la hora de filmar, sobre todo en la obscuridad.

Donde las sombras y los rincones siempre están sugiriendo algo en la misma medida que el misterio maquina nuevas incógnitas, cada cual mas espeluznante que la anterior.

Pero dentro de todo el argumento nos…

Review by Picus💀 ★★★½

This review may contain spoilers. I can handle the truth.

. 　。　　　　•　 　ﾟ　　。 　　.　　　.　　　 　　.　　　　　。　　 。　. 　.　　 。　 ඞ 。　 . • ° • Chema was not the Impostor. 。　. . 2 Impostors remaining 　 .　　。　　　　　　ﾟ　　　.　　　　　.

Review by charlotte ★★★★

“You sound like the police” “Don’t insult me”

Chema, i have feelings for you 🥰

Review by AlexIndo ★★★★★

¿𝖣𝖾 𝗊𝗎é 𝖼𝗈𝗅𝗈𝗋 𝗌𝗈𝗇 𝗆𝗂𝗌 𝗈𝗃𝗈𝗌?

Review by ana ★★★★ 2

que el estereotipo de filmbro cinéfilo rancio indie pick me boy no haya cambiado en 30 años needs to be studied

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International Conference on Applications and Techniques in Cyber Security and Intelligence

ATCI 2018: International Conference on Applications and Techniques in Cyber Security and Intelligence ATCI 2018 pp 739–746 Cite as

An Analysis of Film Subtitle Translation from the Perspective of Intercultural Communication

• Jinhua Chen 19  
• Conference paper
• First Online: 05 November 2018

1757 Accesses

Part of the book series: Advances in Intelligent Systems and Computing ((AISC,volume 842))

With the development of film industry, more and more excellent foreign films are brought into China, meanwhile, many domestic films are going outside. In order to let both people at home and abroad understand each other, translators bear lots of responsibility to express the culture. This paper concentrates on the Intercultural communication, and how translators build the relationships between the native language and target language, in this paper i will talk about the translation strategies in the film subtitle from the perspective of Intercultural communication. The purpose of this thesis is to improve the future film subtitle translation and help people to know very well about the content and topics in the foreign films and understand foreign films culture in a better way.

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Andre, L.: Translation, Rewriting and Manipulation of Literary Fame. Shanghai Foreign Language Education Press, Shanghai (2010)

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Anthony, P.: Exploring Translation Theories. Rout ledge, New York (2010)

Goteborg, H.: Subtitle: diagonal translation. Perspective 2 (1), 102 (1994)

Goteborg, H.: Screen Translation: Six Studies in Subtitle, Dubbing and Voice-Over. Hopi Service, Copenhagen (2012)

Aida, E.: Toward a Science of Translation. Shanghai Foreign Language Education Press, Shanghai (2001)

Gerber, D., Wilson, D.: Relevance: Communication and Cognition. Shanghai Foreign Language Education Press, Shanghai (2001)

Yu, D., Peng, L.: When does inferring reputation probability countervail temptation in cooperative behaviors for the prisoners’ dilemma game? Chaos Solitons Fractals 78 , 238–244 (2015)

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Qizhen, W.: Automatic control system regulation scheme of textile air conditioning. Sci. Technol. Inf. 22 , 395–396 (2010). (in Chinese)

Liu, J.: Advanced PID Control and MATLAB Simulation, 2nd edn. Electronics Industry Press, Beijing (2003). (in Chinese)

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Wuhan University of Science and Technology, Huangjia Lake, Hongshan District, Wuhan, Hubei, China

Jinhua Chen

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Correspondence to Jinhua Chen .

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Faculty of Science, Engineering and Built Environment, Deakin University Geelong, Geelong, VIC, Australia

Jemal Abawajy

Department of Information Systems and Cyber Security, The University of Texas at San Antonio, San Antonio, TX, USA

Kim-Kwang Raymond Choo

School of Computing and Mathematics, Charles Sturt University, Albury, NSW, Australia

Rafiqul Islam

Tsinghua University, Beijing Shi, China

School of Computer Science, University of Oklahoma, Norman, OK, USA

Mohammed Atiquzzaman

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Chen, J. (2019). An Analysis of Film Subtitle Translation from the Perspective of Intercultural Communication. In: Abawajy, J., Choo, KK., Islam, R., Xu, Z., Atiquzzaman, M. (eds) International Conference on Applications and Techniques in Cyber Security and Intelligence ATCI 2018. ATCI 2018. Advances in Intelligent Systems and Computing, vol 842. Springer, Cham. https://doi.org/10.1007/978-3-319-98776-7_86

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DOI : https://doi.org/10.1007/978-3-319-98776-7_86

Published : 05 November 2018

Publisher Name : Springer, Cham

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Thesis (1996)

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VHS.EUROPEAN PAL.( NOT A DVD) LA PELICULA ES MUY BUENA EN Español SOLO. se envia muy rapido..NUEVA Y MUY BUENA EN Español. VISTA SOLO UNA VEZ.

Spanish director Alejandro Amenábar grabbed the attention of American audiences with his dreamy thriller Open Your Eyes , but he earlier sent shock waves throughout Spain in 1996 with this disturbing debut. Thesis is a quietly creepy psychological thriller about a young college student, Ángela (Ana Torrent) investigating the social fascination with sensational violence for her thesis project. In her search for violent video footage, she stumbles onto what may be a real live snuff film, a videotape that her professor was watching before his untimely death. With the help of a geeky gore junkie she uncovers a conspiracy that may include her handsome but sinister new boyfriend, her thesis advisor, and even her weirdo partner. When she uncovers one too many secrets lying in the catacombs of the university basement, she realizes that she may be the next victim. It goes on perhaps too long, and Amenábar's pointed observations on the lure of violence and the dark side of human nature are lost as the spiraling mystery spins into a first-person nightmare, but his skill at weaving a paranoid world where evil may lurk behind every friendly face is undeniable. Thesis is reminiscent of Brian De Palma's early thrillers: dark, stylish, subdued, and bubbling with the characters' guilty (and ultimately dangerous) fascination with the transgressive. --Sean Axmaker

Product details

• Aspect Ratio ‏ : ‎ 1.33:1
• Is Discontinued By Manufacturer ‏ : ‎ No
• MPAA rating ‏ : ‎ R (Restricted)
• Product Dimensions ‏ : ‎ 7.5 x 5.38 x 0.6 inches; 4 ounces
• Media Format ‏ : ‎ Color, NTSC
• Run time ‏ : ‎ 2 hours and 1 minute
• Release date ‏ : ‎ March 11, 2003
• Actors ‏ : ‎ Torrent, Martinez
• Dubbed: ‏ : ‎ Spanish
• Subtitles: ‏ : ‎ English
• Language ‏ : ‎ Spanish (Dolby Digital 2.0 Stereo)
• Studio ‏ : ‎ New Yorker Video
• ASIN ‏ : ‎ 1928639011
• Number of discs ‏ : ‎ 1
• #12,492 in Mystery & Thrillers (Movies & TV)

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• Movies for the Masses Joseph Proimakis mia filodoksi apopeira sholioy sti bia toy mesoy poy ypiretei [o skino8etis], ton tropo poy ayti hrisimopoieitai os opioyho skeyasma, kai etsi gia ton habale, ton symbolismo toy ergaleioy poy koybalaei ston omo toy (os ergaleio apokalypsis tis alitheias,
• Goatdog's Movies Michael W. Phillips, Jr. The thinking man's 8mm.
• Bryant Frazer's Deep Focus Bryant Frazer Spanish filmmaker Alejandro Amenbar ('Open Your Eyes') is already in his element with this low-budget thriller debut.
• PopMatters Imran Khan Tesis won't exactly knock the socks off of viewers; However, it is exceptionally acted, with all actors delivering solid performances and fully submitting to the demands of some of the more arduous action sequences.
• MovieMartyr.com Jeremy Heilman It only manages to be startling in passing.
• Dennis Schwartz Movie Reviews Dennis Schwartz The young director has an exciting way of filming and keeping one engrossed in the story...
• Rolling Stone Jason Newman (The) director Alejandro Amenábar balances actual, terrifying visuals with Hitchcockian red herrings for one of the best debut films in years. The technology might be quaint, but the fear remains resonant.
• AV Club Scott Tobias Amenábar dodges the moral hysteria and hypocritical prurience that infected Joel Schumacher's 8mm three years later, and his cinephilia suffuses the film in mostly exciting ways.
• Variety Joe Leydon Despite some whopping improbabilities - would snuff movie producers really hide their master tapes in a university storage room? -"Thesis" generates genuine tension

Thesis subtitles English

Thesis english subtitles (1996) 2cd sub.

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• Alejandro Amenábar
• Ana Torrent
• Fele Martínez
• Eduardo Noriega
• Xabier Elorriaga
• Miguel Picazo
• Nieves Herranz
• Rosa Campillo
• Paco Hernández
• Teresa Castanedo
• José Miguel Caballero
• Joserra Cadiñanos
• Julio Vélez
• Pilar Ortega
• Olga Margallo

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