Dissertations / Theses: 'Critical film studies'

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Radovich, Tom. "Critical Mass." Digital Commons at Loyola Marymount University and Loyola Law School, 2018. https://digitalcommons.lmu.edu/etd/494.

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Erickson, Mary P. A. 1977. "Independent Filmmaking in the Pacific Northwest: A Critical Analysis of the Regional Film Landscape." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11527.

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xvii, 397 p. : ill., maps.
Thousands of films are produced every year in the United States, and only a fraction of these is made by mainstream Hollywood film studios. Independent filmmakers working in regional locations produce the majority of these films, retaining financial, creative and distribution control and working with locally-based cast and crew members. This film activity must be acknowledged in order to fully understand the American film industry. This study examines regional independent filmmaking through case studies of two film communities: Portland, Oregon and Seattle, Washington. Using political economy of communication as the primary theoretical foundation, this study focuses on the infrastructure (systems, policies, resources and practices) that supports and/or limits the production and distribution of independent films. The research utilizes extensive document analysis of historical materials and contemporary documents produced by organizations and individuals, as well as a survey of 60 film professionals and interviews with over 40 film professionals. A central challenge to independent filmmaking is the term "independent," which has been contested by film professionals and scholars; therefore, this study analyzes and offers a new definition of "independent filmmaking." The history of filmmaking activity in Portland and Seattle is presented, as well as an extensive discussion of the contemporary landscape of regional independent filmmaking in these two communities. The study finds that there are a multitude of contradictions pertaining to financing, distribution, labor and myths of independent filmmaking. These contradictions present a range of opportunities and challenges that often simultaneously conflict with each other. The filmmaking communities in Portland and Seattle have notable networks of support, including professional and educational organizations, film festivals, government initiatives and a few locally-operated distributors. However, filmmakers in both cities also share challenges in financing, distribution and labor. The study argues that regional independent filmmaking has made a dynamic and influential contribution to the American film industry and cultural production but has been under-explored in academic scholarship. The research also points to the need to examine and understand the contradictions of independent filmmaking to improve the circumstances and infrastructure that support regional independent filmmaking.
Committee in charge: Dr. Janet Wasko, Chairperson; Dr. Gabriela Martinez, Member; Dr. H. Leslie Steeves, Member; Dr. Michael Aronson, Outside Member

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Boscarino, Mary Anita. "Desiring Japan: Transnational Encounters and Critical Multiculturalism." Miami University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=miami1313179889.

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Couret, Nilo Fernando. "Peripheral Humor, Critical Realism: Latin American Film Comedy, 1930-1960." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/4831.

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Latin American film comedies, from the early sound period until the beginnings of the aesthetic and political New Cinemas (1930-1960), mediated modernity in diverse national contexts through affective and aesthetic tactics that shifted the spectator position in the narrative. These film comedies functioned in a mode of "critical realism" that produced historical self-awareness and foregrounded the geopolitical extension and uneven development of modernity. The comedian comedies of Mario "Cantinflas" Moreno (Mexico), Niní Marshall and Luis Sandrini (Argentina), and Oscarito and Grande Otelo (Brazil) demonstrate not only what kind of "peripheral humor" operated within - and traveled beyond - the national context, but also what this kind of humorous social critique reveals about the capacity of film to move viewers, by means of affect, into positions of critical opposition in the public sphere. By examining the linguistic play of these comedians, this study demonstrates four aspects of Latin American comedy that operate via embodiment and spatio-temporal location. First, Cantinflismo had as its basis not merely word play and non-sense, but misdirection, an evasive spatial practice which positioned the viewer to resist social hierarchies within and beyond the nation. Second, Marshall's multiple radio and film characters and her vocal stardom constituted an auditory map of Buenos Aires that created a different spatial intelligibility for her auditors. Third, Sandrini's stutter produced multiple temporalities that, in turn, positioned the audience itself to do a double take regarding its relation to the film text and its location within the standardized time of modernity. Fourth, the palimpsestic parody of the Brazilian chanchanda by Oscarito and Grande Otelo produced an awareness of historicity in a critically realist vein. Taken together, these four parallel examples of comedic practice demonstrate how Latin American film comedies produced a critically proximate spectator capable of perceiving and organizing space and time differently. Affirming that the study of popular film genres should be seen neither as derivate of foreign models nor as defensive authentic cultural expression, the thesis argues that articulating Miriam Hansen's concept of vernacular modernism to Angel Rama's concept of transculturation yields an understanding of popular cinema as a cultural practice of embodiment that foregrounds the differentiated responses to modernization. Furthermore, by re-reading the theories of realism of Gyorgy Lukács and Siegfried Kracauer and the theories of mimesis and innervation of Walter Benjamin through the critical lenses of Henri Bergson and debates about realism in the Latin American literary boom, this study demonstrates how the humor is contingent on thinking within a particular historical context and becoming part of a located collective body. These film comedies produce a critically proximate humorous spectator moved in laughter to examine his/her relation to the film text and his/her historical and geopolitical location within a cultural landscape marked by economic dependency.

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Cunningham, Phillip Lamarr. "“Well, It Is Because He’s Black”: A Critical Analysis of the Black President in Film and Television." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1307779402.

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Luck, Renberg Teresa. "English film instruction in Swedish EIL middle schoolclassrooms : Using Critical Literacy with film texts." Thesis, Högskolan Dalarna, Engelska, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:du-26735.

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This thesis is a qualitative text analysis of worksheets used in conjunction with watching films in English language studies in Swedish middle schools. The assignments used in the thesis were partly collected from partner schools in the teacher program and partly collected from a website which is a database of teacher submitted lesson plans. The results of the thesis include a presentation and discussion of different worksheets used by teachers, using a structure based on one used for critical discourse analysis instruction with students. The evidence suggests that two factors gave an increase in explicitly named aspects of critical literacy in film studies: firstly, that the assignment be situated in a program of study within the Swedish curriculum which shares many of the goals of critical literacy studies and secondly that the choice of film is one that challenges students to reconsider their experiences in light of the film. This study also raises the concern that the questioning methods used to implement critical literacy studies are being used to increase student talk for the purposes of grading oral proficiency without interactive discussions.

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Seijo, Maxximilian. "Anti-Fascist Aesthetics from Weimar to MoMA: Siegfried Kracauer & the Promise of Abstraction for Critical Theory." Scholar Commons, 2019. https://scholarcommons.usf.edu/etd/7933.

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This thesis re-examines the life's work of German-American critical theorist, Siegfried Kracauer, to recover abstraction from tacit historical associations with modern fascism. Evoked in critical theory more generally, the abstraction-to-fascism-teleology imagines 20th century fascism as the dialectical fulfillment of modern alienation. Rooting such alienation in the flawed Liberal and Marxist conceptions of monetary relations, critical theorists conduct their aesthetic analyses via ambivalent condemnations of abstraction’s assumed primordial alienation. In the thesis, I critique the abstraction-to-fascism-teleology through an affirmation of neochartalist political economy’s conception of money’s essential publicness and abundance. Drawing from this abstract legal mediation, I trace Kracauer’s various condemnations of abstraction along the terms of his embodied contradiction among the WWII and Cold War fiscal mobilizations to illuminate repressed pleas for abstract mediation within his work and midcentury aesthetic realism broadly. Further, I move from the midcentury moment to the Weimar moment in order to locate potential in Kracauer’s early affirmation of abstraction as a communal medium. I find such affirmations neglected in the Liberal and Marxist responses to the unemployment crises of the Great Depression in Germany. By looking to Kracauer’s Weimar essays on architecture and photography, as well as a reading of Fritz Lang’s Metropolis (1927), I pinpoint historical and contemporary promise in their commitment to the inclusive potential of abstraction’s (no)thing- ness, a commitment that was mirrored in the proposed monetary issuance of the WTB public works plan of 1932, which was ultimately rejected by the Social Democratic Party of Germany in the lead up to their defeat in the parliamentary elections of 1933 and the Nazis’ rise to power.

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Chasse, Hilary Marie. "Youth in China: An Analysis of Critical Issues Through Documentary Film." Thesis, Boston College, 2012. http://hdl.handle.net/2345/2969.

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Thesis advisor: Christina Klein
The cultural face of modern China is constantly changing, whether through economic reforms, political campaigns, or social values. The ultimate inheritors and current carriers of this society in flux is the current post socialist, post 1989 youth generation. This paper examines the cultural changes that are occurring in China through six documentary films made in the 21st century that focus on youth and young adults as the representatives of the issues that the directors explore. In two films, the issue of the Single Child Policy will be examined in terms of the social repercussions the policy has created for modern youth, including gender, ethnic, and class inequalities. In the next two films, the economic conditions that have produced millions of migrant examined as it relates to the changing family values in much of China. The last two films explore the consumer culture of today’s modern youth, and how this culture impacts the expressive output of this generation. I conclude through these films that although the youth of today have been irrevocably shaped by these, and other, cultural changes that have occurred during their lifetime, they are still most fundamentally influenced by the traditional values of Chinese culture including relationships, family, and collective expression
Thesis (BA) — Boston College, 2012
Submitted to: Boston College. College of Arts and Sciences
Discipline: International Studies Honors Program
Discipline: International Studies

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Mohsenzadeh, Yassaman. "A minor apocalypse : theorising the pregnant body." Thesis, University of Sussex, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.244352.

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LIU, Jingya. "Chronotope and regional Chinese independent films." Digital Commons @ Lingnan University, 2010. https://commons.ln.edu.hk/cs_etd/2.

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This thesis aims to re-categorize Chinese independent films from a region-based perspective as a critical response to existing literature on Chinese independent films. This thesis analyzes three independent films made in three different regions of China in order to investigate regional Chinese independent cinema as a recently rising phenomenon: respectively, Jia Zhangke’s Xiaowu (1997) made in Shanxi Province, Ying Liang’s Taking Father Home (Bei yazi de nanhai, 2006) in Sichuan Province, and Robin Weng’s Fujian Blue (Jinbi huihuang, 2007) in Fujian Province. By using Bakhtin’s concept of chronotope (literally time-space) as the fundamental framework and exploring the many aspects of it, I will develop three major theoretical points to study selected regional Chinese independent films: first, chronotope enables the evaluation of texts of Chinese independent films; second, the documentary impulses prevailing Chinese independent films serve as the chronotopic linkage between the world in the film text and the world the film text represents; three, the mediation function as one aspect of chronotope is characterized by the negotiation between regional Chinese independent films and many social relations, for example, filmmakers, casting, audiences. This thesis also explores many issues related to Chinese independent films, for example: How do we value the unique film practice of Chinese independent filmmakers instead of viewing them as a unified whole? How do we relate Chinese independent films as aesthetic practices to the region-specific reality they are embedded in? How can Chinese independent cinema as a social practice play an effective role in society? The exploration of these questions does not only enlighten new research perspectives on Chinese independent films, but also provide reflections on the geographical, cultural and social diversity of Chinese regions.

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O'Hara, Mark William. "Foucault and Film: Critical Theories and Representations of Mental Illness." Miami University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=miami1415896906.

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Gavin, Emma. "Dreadful Women: An Exploration of Gender-Based Social Values and Expectations Through Viewer and Critical Reception of Female Antagonists on Television." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/448.

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By examining viewer reception of female antagonists in traditionally feminine roles on television—particularly the role of wives and mothers who have husbands to answer to and children to look after and are thus expected, in some form, to act as a caretaker or guide for others—we can explore modern societal attitudes towards female agency and gender-based expectations of behavior.

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McGill, Genevieve. "Moving image, montage and memory : the development of a critical documentary practice, exploring Irish identity through an exploration into found film archives and the cinematic treatment of time and memory." Thesis, University of the Arts London, 2013. http://ualresearchonline.arts.ac.uk/5888/.

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The main aim of this thesis is to provide a voice to a marginalised community on the island of Inishbofin off the North West coast of Co. Donegal in Ireland. The film’s usefulness lies in its portrayal of a small, indigenous, fragile community that clings to existence and its strength lies in giving voice to this minority in an attempt to correct perceptions of Irishness. This thesis seeks to enrich the discourse surrounding the way Irish identity is reconciled through the moving image. The theme is explored through an investigation of a previously unseen film archive—The Martin Archive—alongside my own documentary film practice. Time within the context of the archive, the nation, the temporality of film, memory and nostalgia is used to structure this thesis exploration. Within my research, the recognition of time and memory and the role these play in the construction of national identity have come to the fore. My documentary film work will intervene within this larger discourse to contribute to another way of thinking about and looking at Irish identity. The ambiguity of historical time and the myth of authenticity are considered through an exploration of how the archive is assembled. My approach correlates with that of certain postcolonial theories, developed through an analysis of the writings of Homi K. Bhabha and Benedict Anderson. In my original approach to this subject I have created a hybrid of two time frames by utilising both The Martin Archive and my own film work, in an attempt to question established notions of Irish national identity. The research is a consideration of the constructed nature of narrative, exploring how a disruption in linear narrative and historical time can provide a new space of performativity, in which the spectator can explore Irish identity anew. By illuminating the multiplicities within the films, the multiple minor voices - that are concurrent in time - can be heard. This process enables the practice to disrupt the time of official history by showing the time of the other. My practice is a temporal bricolage that documents a vulnerable, indigenous, Gaelic speaking community in Co. Donegal. The film work is a poetics of time; memory and fragility, which explores the past, present and future of the community portrayed within the experimental film archive. The structure of the practice as a temporal bricolage displays a fragmented, multiple, jumbled narrative, where chronology itself is disrupted. The fragmentary nature of the practice ensures that no complete meaning can be fixed. The interlocking of historical and personal time enables a plurality of voices to be heard, contesting any dominant historical linear narrative.

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Holtmeier, Matthew. "Combining Critical and Creative Modalities through the Video Essay." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etsu-works/7819.

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Schweitzer, Dennis Christopher. "Ton & Traum : A Critical Analysis Of The Use Of Sound Effects And Music In Contemporary Narrative Film." Ohio University / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1108483481.

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Hutcheson, Linda. "Beyond the frame : a critical production case study of the advance party initiative." Thesis, University of Stirling, 2013. http://hdl.handle.net/1893/17851.

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This study utilises a variety of research methods in order to investigate aspects often overlooked within Scottish film criticism, and indeed film studies more generally, namely: pre-production, production experiences, marketing and distribution, and reception. To date, Scottish film criticism has exhibited a preoccupation with questions of nation, national identity and national cinema, and overwhelmingly scholars have privileged almost exclusive analysis of the film text. Spurred by Jonathan Murray’s (2007, 2011, 2012) questioning of the continued relevance of the national framework, this thesis goes beyond the frame of the film text in order to consider new ways in which a national framework might be of relevance when analysing Scotland’s cinematic output. Concurrently, the chosen case study is also used as a means of critiquing existing literature on collective identity and national cinema. As the title of this thesis suggests, analysis centres on the Dogma-inspired Advance Party initiative and its resulting films, Red Road (Arnold, 2006) and Donkeys (McKinnon, 2010). Devised by Glasgow-based Sigma Films and Denmark’s Zentropa, the cross border collaborative dimension of the Advance Party framework initially appears to challenge the appropriateness of the national framework. As this thesis demonstrates however, such a simplistic conclusion is reductive and overlooks the complexities of the film industry. Throughout this thesis, questions as to the intended and eventual function of the Advance Party framework arise, and these are revisited by means of the thesis Conclusion.

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Gallagher, Meghan M. "John Berger, Paris Hilton, and The Rich Kids of Instagram: The Social and Economic Inequality of Image Sharing and Production of Power Through Self-Promotion." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/545.

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This thesis updates John Berger's work of critical visual theory, Ways of Seeing, to accommodate emerging web 2.0 technologies and new social media platforms. It analyzes the symbols of wealth and status encoded in both 15th century oil paintings and contemporary Instagram posts and attempts to dissect how American celebrity culture complicates methods of self-promotion and upscale emulation.

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Moss, Bradley David. "Positioning, Spectatorship, and Teen Films: Giving Students the Power for Effective Media Education." Diss., CLICK HERE for online access, 2009. http://contentdm.lib.byu.edu/ETD/image/etd3108.pdf.

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Hudrlik, Mikhel L. "Prosthetic Adaptation: Disability in/of Richard III in Manga and Film." CSUSB ScholarWorks, 2018. https://scholarworks.lib.csusb.edu/etd/748.

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This thesis analyzes the representation of disability in adaptations of Shakespeare’s Richard III in order to propose a theory of Prosthetic Adaptation. Ian McKellen and Richard Loncraine’s film adaptation, and Patrick Warren’s manga adaptation, are closely read through the lenses of Adaptation Theory and Critical Disability Studies. Prosthetic Adaptation is the use and incorporation of disability in adapted texts in such a way that both the text and the portrayal/reading of the disability are mutually transformed. Close reading analysis is conducted with both Critical Disability Studies and Adaptation Studies lenses. The transformation of the texts and disability work together to push the boundaries of their genre/medium that they have been transformed into, using those broken boundaries to comment on disability itself. McKellen and Loncraine’s film uses archetypes of war films and shifts in tone to comment on the dangers of the disability stereotype and spectacle in film; Warren uses color and form to create a strong visual metaphor of the invisibility of disability to the able-bodied eye, commenting how disability is erased and removed from sociocultural context. It is through these commentaries that both the concept of disability and the texts themselves experience a broadening of potential meanings and a reshaping of boundaries.

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Holdsworth, Claire. "History has tongues : re-evaluating historiography of the moving image through analysis of the voice and critical writing in British artists' film and video of the 1980s." Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/10771/.

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This thesis examines experimental film and video in 1980s Britain through a critical reassessment, mapping histories of these practices in relation to critical writing of the period. This historiographical analysis utilises material contained in The British Artists’ Film and Video Study Collection, part of the Museum at Central Saint Martins (UAL). Close analysis of a number of selected film and video works created within the artistic, activist and experimental communities active at the time both develops the thesis’ function as a new account of the period and provides a critical means of surveying historiography within the field of artists’ moving image. This study establishes the voice as a key theme in relation to both constructed narratives in historiographical writing and in works from this time. Employment of oral, primary source accounts frames analyses of voices in preexisting written histories and acts as a means to explore aural strategies and components within film and video works. Initial analyses of ‘historical recovery’ before, during and after the 1980s is followed by first considering how stories are recounted by voices, before investigating works that responded to events at the time and exemplified the struggles of voices during this significant period in British history. Focus on the voice frames a critical exploration of lexicons related to ghosts which appears later in the thesis. Jacques Derrida’s lecture and publication Specters of Marx (1994) is referenced to develop discussion of ghosting in relation to myths and historical sources in analysis of Ken McMullen’s Ghost Dance (1983), in which Derrida muses on ghosts and recording. An exploration of recording technologies and media informs a critique of writing history in order to reflect upon British film and video of the 1980s. It identifies a cacophony of voices – political, critical, activist and artistic – as characteristic of the times and a key element in the composition of the works and historical accounts of the moving image.

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Watson, Ian T. "The Psychology of Theatre and Film: In Theory and Practice." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4202.

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This thesis utilizes theories and ideas from the field of psychology to inform intertextual and interdisciplinary readings that compare and contrast theatre and film texts. In Chapter One, I compare Carlos Fuentes' drama Orchids in the Moonlight to Nicolas Winding Refn's film Bronson in order to investigate the extent each oscillates between Carl Jung's notion of the collective unconscious and Gilles Deleuze and Félix Guattari's schizoanalytic paradigm. I found that while these vacillating aspects helped illuminate different perspectives of each text, Orchids in the Moonlight more closely represents the collective unconscious, while Bronson more robustly embodies schizoanalysis. In Chapter Two, I examine the magnitude to which the play and film version of Jean Cocteau's Orpheus illuminate his self-portrait. By analyzing the similarity and differences between how Cocteau depicts mirrors and the female personification of Death, I discovered the film version to more profoundly evoke and depict Cocteau's self-portrait. Finally, in Chapter Three, I discuss my process of writing a new play with film elements called Flooded—before providing a sample of the text, and later analyzing the advantages and disadvantages of the film contents in the play.

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Torres, Ines Galiano. "Exploring Ethnic Stereotypes through the Production of Five Short Films." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etd/3035.

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This is a nontraditional thesis that combines social research in ethnic stereotypes in TV and film with the creative process of film production. This paper contains the formal step of research, in addition to the details on the production and creation of five original short films related to the issue of ethnic representations.

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Austin, Brent John. "CELEBRITIES, DRINKS, AND DRUGS: A CRITICAL DISCOURSE ANALYSIS OF CELEBRITY SUBSTANCE ABUSE AS PORTRAYED IN THE NEW YORK TIMES." CSUSB ScholarWorks, 2014. https://scholarworks.lib.csusb.edu/etd/104.

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This study is an examination of the ideologies present in celebrity substance abuse news stories in The New York Times online from December 2012 to December 2013. I analyzed news stories by employing a critical discourse analysis to determine the dominant discourses in celebrity substance abuse news articles. Drawing from cultivation and framing theories, celebrity substance abuse stories in The New York Times are presented in a limited, individual fashion with relatively little effort when it comes to recovery. Rather than treating substance abuse as a serious social issue and a medical condition, it is presented as an individual, moral problem. Moreover, recovery from substance abuse is presented as a personal choice which involves very little to no assistance and is easy to acquire.

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Wilson, Graeme John. "Angry White Men: How Breaking Bad and The Walking Dead Predicted the Trumpian Zeitgeist." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1551274929080533.

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Österholm, Johan. "Civiliserade nordbor och primitiva främlingar : En kritisk diskursanalys av journal- och förfilm i folkhemmets Sverige." Thesis, Örebro University, Department of Humanities, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-1131.

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This essay examines a small selection of Swedish newsreel and documentary short films, primarily travelogues, produced shortly before and after the second world war. The general aim is to expose differences in the representation of “The Other” and the “ethnic Swede” by applying a critical discourse analysis. The purpose is to illuminate how the material positions the latter as the norm and then contextualize this with xenophobic currents that had developed up until the middle of the twentieth century. Theoretical and methodological framework is drawn from the field of cultural studies as well as the nonfiction film. The analysis shows that the Swedish newsreel and travelogue indeed, to a high degree, possessed these currents even though part of them, mainly the anti-Semitic ideas, seems to relapse after the Holocaust.

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Zhao, Meng. "The Media, Education, and the State: Arts-Based Research and a Marxist Analysis of the Syrian Refugee Crisis." Chapman University Digital Commons, 2019. https://digitalcommons.chapman.edu/education_dissertations/8.

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By 2019, the Syrian civil war has lasted for nearly eight years and it has created the largest humanitarian crisis since WWII (Achlume, 2015). Using the siege of Aleppo in 2016 as a case study, the author applied a Marxist-humanist theoretical framework and incorporated arts-based research methodology to examine how US news media supports capitalist social relations. The research question for this study was: how do the US media depictions of the siege of Aleppo, Syria in 2016 reflect capitalist social relations? There were three sub-questions that followed: (1) Which elements of the siege of Aleppo in 2016 get the most attention in the specific outlets examined? In what ways do these depictions support the US government and/or corporate interests? (2) What are some of the ways in which Syrian refugees are depicted in the various outlets examined? How and in what ways is US humanitarian policy reflected? How are Syrian’s racialized through these depictions? and (3) How are corporate and government interests tied to these media outlets? This study used narrative inquiry, visual analysis, and critical discourse analysis as research methods to discover five major themes found in US news media’s reporting on the siege of Aleppo in 2016. The author then examined these five main themes through a Marxist-humanist lens to discover how the US news media, the supposed “gatekeeper” for the public, establishes, maintains, and reinforces an ideology that supported hegemony for the dominant class.

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Carlovici, Corina. "Analyzing Freedom Writers : An analysis of the depiction of race in the film Freedom Writers and how using such films adds to student knowledge, values and attitudes." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-104494.

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The aim of this thesis is to analyze how the film Freedom Writers, released in 2007 anddirected by Richard LaGravenese, reflects on the topic of racism. The analysis is based on twoof the key tenets of Critical Race Theory, “Whiteness as Property” and “Commitment to SocialJustice”, which are used as analytical tools. Furthermore, the analysis also includes RacialIdentity Development Theory, which represents different stages of development as people beginto define themselves in relation to others. This thesis further evaluates pedagogical implicationsin connection to the analysis of Freedom Writers and Critical Race Theory. The results showthat racism is depicted in Freedom Writers through the concept of Whiteness as Property, andthe differences between white characters and characters of color are significant due to theirdifferent views on social justice. In addition, the results show that Freedom Writers may serveas a thought-provoking resource to use in the Swedish EFL classroom to create awareness aboutand discuss the importance of aspects such as racism, empowerment, and social justice in theworld and with regard to the students’ own knowledge.

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Rawson, Angela. "A critical linguistic analysis of a popular comic genre in Japan." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2001. https://ro.ecu.edu.au/theses/1021.

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This research will focus on the issue of power and gender in the language of Japanese comics (manga). Comics in Japan are enormously popular and are read by a wide audience. They are aimed at specific audiences and it is my argument that the language of manga helps to reinforce certain social stereotypes - particularly the inferiority of women and the dominance of males. The language of children's manga will be analyzed using the framework of Critical Discourse Analysis (CDA), which concerns itself with the relation between ideology and power in discourse. The analysis will be at various levels including lexica-semantic, pragmatic, textual and ideological. The texts to be analyzed will be Japanese manga in the original Japanese language. Manga aimed at specific audiences, i.e. young boys and girls, will be analyzed to determine the presence of male-dominant ideology in the text. I argue that an interpretation of the text under the framework of GOA supports the hypothesis that the ideology of male dominance is present in manga and that it has become normalized in Japan.

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Icleanu, Constantin C. "A CASE FOR EMPATHY: IMMIGRATION IN SPANISH CONTEMPORARY MEDIA, MUSIC, FILM, AND NOVELS." UKnowledge, 2017. http://uknowledge.uky.edu/hisp_etds/33.

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This dissertation analyzes the representations of immigrants from North Africa, Latin America, and Eastern Europe in Spain. As engaged scholarship, it seeks to better the portrayal of immigrants in the mass media through the study of literature, film, and music about immigration spanning from the year 2000 to 2016. Because misconceptions continue to propagate in the media, this dissertation works to counteract anti-immigrant, xenophobic representations as well as balance out overly positive and orientalized portrayal of immigrants with a call to recognize immigrants as human beings who deserve the same respect, dignity, and rights as any other citizen. Chapter 1 examines and analyzes the background to immigration in Spain by covering demographics, the mass media, and political theories related to immigration. Chapter 2 analyzes Spanish music about immigration through Richard Rorty’s social theory of ‘sentimental education’ as a meaningful way to redescribe marginalized minorities as full persons worthy of rights and dignity. Chapter 3 investigates the representation of immigrants in Spanish filmic shorts and cinema. Lastly, Chapter 4 demonstrates how literary portrayals of immigrants written by undocumented immigrants can give rise to strong characters that avoid victimization and rear empathy in their readers in order to affect a social change that minimizes cruelty.

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Kitenge, Denis. "Optical detection of CO and H2 based on surface plasmon resonance with Ag-YSZ, Au and Ag-Cu nanoparticle films." Scholar Commons, 2009. http://scholarcommons.usf.edu/etd/2047.

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Silver, gold, and copper metallic nanoparticle films have been utilized in various MEMS devices due to not only their electrical but also their optical properties. The focus of this research is to study the detection at room temperature of carbon monoxide (CO) and hydrogen (H2) via Surface Plasmon Resonance (SPR) phenomenon of silver-embedded Yttrium Stabilized Zirconium (Ag-YSZ) nanocomposite film, gold (Au) nanoparticle film, and an alloy film of silver-copper (Ag-Cu) , grown by the Pulsed Laser Deposition (PLD). To determine the appropriate film materials for quick and accurate CO and H2 detection at room temperature with the PLD technique, the growth process was done repeatedly. Optical tools such as X-Ray Diffraction, Alpha Step 200 Profilometer, Atomic Force Microscopy, and Scanning Electron Microscopy were used to characterize thin films. The gas sensing performance was studied by monitoring the SPR band peak behavior via UV/vis spectrophotometer when the films were exposed to CO and H2 and estimating the percent change in wavelength. The metallic nanoparticle films were tested for concentration of CO (100 to 1000 ppm) and H2 (1 to 10%). Silver based sensors were tested for the cross-selectivity of the gases. Overall the sensors have a detection limit of 100 ppm for CO and show a noticeable signal for H2 in the concentration range as low as 1%. The metallic films show stable sensing over a one-hour period at room temperature. The SPR change by UV/vis spectrophotometer shows a significant shift of 623 nm wavelength between 100 ppm CO gas and dry air at room temperature for the alloy films of Ag-Cu with a wider curve as compared to silver and gold films upon their exposure to CO and H2 indicating an improvement in accuracy and quick response. The results indicate that in research of CO and H2 detection at room temperature, optical gas sensors rather than metal oxide sensors are believed to be effective due to not only the absence of chemical involvement in the process but also the sensitivity improvement and accuracy, much needed characteristics of sensors when dealing with such hazardous gases.

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31

Kudva, Sonali S. "It's Not All About Song and Dance: How the Natyashastra Informs Contemporary Bollywood." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1556281429094399.

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32

Fowler, Charity A. "Negotiating Desire: Resisting, Reimagining and Reinscribing Normalized Sexuality and Gender in Fan Fiction." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4852.

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Fan studies has examined how fan fiction resists heteronormativity by challenging depictions of gender and sexuality, but to date, this inquiry has focused disproportionately on slash, to the exclusion of other genres of fan fiction. Additionally, scholars disagree about slash’s subversive effects by setting up a seemingly stable dichotomy—subversive vs. misogynistic—where one does not necessarily exist. In this project, I examine multiple genres of fan fiction—namely, slash arising from bromances; femslash from female friendships; incestuous fan fiction from dysfunctional familial relationships; and polyamorous fics. I chose fics from four televisions shows—NBC’s Revolution, MTV’s Teen Wolf, the CW’s The Vampire Diaries, and its spin-off, The Originals—and closely read them to identify patterns in their representations of gender and sexuality and how they connect to the source texts. Taking a dialogic “both/and” approach, I argue that critics claiming that slash is often not subversive are right to a point, but miss a key potential of fan fiction: its ability to evoke possibility—for new endings, relationships, and sexualities. Heteronormativity often asserts itself in endings; queerness plays in the middles and margins. So, too, does fan fiction. While some individual fics may reinforce elements of heteronormativity, many also actively question and transgress norms of gender, sexuality and love. Further, they embrace fluidity and possibility, and engage with the source texts and larger culture around them in a way that provides a subversive interpretation of both and offers insight into the function of the constructed nature of institutionalized heterosexuality.

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Alphin, Caroline Grey. "Living on the Edge of Burnout: Defamiliarizing Neoliberalism Through Cyberpunk Science Fiction." Diss., Virginia Tech, 2019. http://hdl.handle.net/10919/88796.

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A dominant trend in cyberpunk scholarship draws from Fredric Jameson's diagnosis of postmodernism as the logic of late capitalism, using Jameson's spatial pastiche, schizophrenic temporality, and waning of affect, along with Jameson's characterization of Baudrillard's simulacrum to interpret postmodern cultural artifacts. For many cultural critics, the city of cyberpunk is thoroughly postmodern because parallels can be drawn between the cyberpunk city and the postmodern condition. However, very little work has considered the ways in which cyberpunk can defamiliarize the necro-spatial and necro-temporal logic of neoliberalism. This project moves away from more traditional disciplinary aesthetic methods of analyzing power and urban systems, such as interpretation and representation. And, it problematizes the biopolitical present in three different ways. First, by weaving in and out of an analysis of the narratives, discourses, and spatio-temporalities of cyberpunk and neoliberalism, I seek to produce epistemological interferences within these genres/disciplines, and thus, to disrupt the conceptual and lived biopolitical status-quo of late-capitalism. The goal is to open the door for discomfort with and a critical awareness of the necrotic conditions of competition by highlighting the fictive nature of neoliberalism. Second, this study problematizes accelerationism as a viable alternative to leftist politics and suggests in the end that accelerationism is a form of neoliberal resilience. It does this through an analysis of the biohacker that reframes this subject in terms of accelerationism and the logic of intensity. I argue that the biohacker is the accelerationist subject Alex Williams and Nick Srnicek advocate for in their "Accelerationist Manifesto," suggesting that this accelerationist subject is, in the end, a neoliberal subject that fits easily within the conditions of competition. This study argues that the biohacker in its numerous forms reflects an underlying pure neoliberalism at work within accelerationism and its neoliberal governmentalities. I suggest that far from being an alternative to leftist politics, accelerationism may further the goals of neoliberalism in its desire to accelerate to a purified market space. And, finally, this study works towards offering a biopolitics that theorizes death in terms of ordinariness and suggests that biopolitics is still a useful analytic within neoliberalism. In other words, Foucault's biopolitics can do more than theorize a genealogy of biological racism and genocide. Rather than advocate for moving beyond biopolitics, this study argues instead that neoliberal biopolitics can still be understood in terms of Foucault's analytic, and that perhaps, we need to disentangle Foucault's work from Achille Mbembe's "Necropolitics."
Doctor of Philosophy
A dominant trend in cyberpunk scholarship draws from Fredric Jameson’s diagnosis of postmodernism as the logic of late capitalism, using Jameson’s spatial pastiche, schizophrenic temporality, and waning of affect, along with Jameson’s characterization of Baudrillard’s simulacrum to interpret postmodern cultural artifacts. For many cultural critics, the city of cyberpunk is thoroughly postmodern because parallels can be drawn between the cyberpunk city and the postmodern condition. However, very little work has considered the ways in which cyberpunk can defamiliarize the necro-spatial and necro-temporal logic of neoliberalism. This project moves away from more traditional disciplinary aesthetic methods of analyzing power and urban systems, such as interpretation and representation. It problematizes the biopolitical present in three different ways. First, by weaving in and out of an analysis of the narratives, discourses, and spatio-temporalities of cyberpunk and neoliberalism, I seek to produce epistemological interferences within these genres/disciplines, and thus, to disrupt the conceptual and lived biopolitical status-quo of late-capitalism. Second, this study problematizes accelerationism as a viable alternative to leftist politics and suggests in the end that accelerationism is a form of neoliberal resilience. And, finally, this study works towards offering a biopolitics that theorizes death in terms of ordinariness and suggests that biopolitics is still a useful analytic within neoliberalism. Methodologically, the project utilizes an interdisciplinary approach, pulling from political theory, genre studies, discourse analysis, and digital ethnographic research. Professionals and scholars interested in contesting neoliberalism will benefit from this study as it offers ways to problematize neoliberalism’s reality construction.

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Chatelain, Megan E. "Minority Representations in Crime Drama: An Examination of Roles, Identity, and Power." Scholarly Commons, 2020. https://scholarlycommons.pacific.edu/uop_etds/3716.

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The storytelling ability of television can be observed in any genre. Crime drama offers a unique perspective because victims and offenders change every episode increasing stereotypes with each new character. In other words, the more victims and criminals observed by the audience, the more likely the show creates the perception of a mean world. Based on previous literature, three questions emerged which this study focused on by asking the extent of Criminal Minds’ ability to portray crime accurately compared to the Federal Bureau of Investigations Uniform Crime Report (UCR) and the Behavioral Analysis Unit’s (BAU-4) report on serial murderers and how those portrayals changed over the fifteen years of the show. A content analysis was conducted through the lens of cultivation theory, coding 324 episodes which produced a sample size of 354 different cases to answer the research questions. Two additional coders focused on the first, middle, and last episodes of each season (N=45) for reliability. The key findings are low levels of realism with the UCR and high levels of realism with the BAU-4 statistics. Mean-world syndrome was found to be highly likely to be cultivated in heavy viewers. Finally, roles for minority groups did improve overtime for Black and Brown bodies, yet Asian bodies saw a very small increase in representation. LGBT members were nearly nonexistent. The findings indicated that there is still not enough space in television for minority roles and found that the show perpetuated stereotypes. Additional implications and themes include a lack discourse on violence and erasure of sexual assault victims.

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Hart, Phoebe. "Orchids : intersex and identity in documentary." Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/29712/25/Phoebe_Hart_Thesis_redacted.pdf.

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Orchids: Intersex and Identity in Documentary explores the creative practice challenges of working with bodies with intersex in the long-form auto/biographical documentary Orchids. Just as creative practice research challenges the dominant hegemony of quantitative and qualitative research, so does my creative work position itself as a nuanced piece, pushing the boundaries of traditional cultural studies theories, documentary film practice and creative practice method, through its distinctive distillation and celebration of a new form of discursive rupturing, the intersex voice.

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36

Hart, Phoebe. "Orchids : intersex and identity in documentary." Queensland University of Technology, 2009. http://eprints.qut.edu.au/29712/.

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Orchids: Intersex and Identity in Documentary explores the creative practice challenges of working with bodies with intersex in the long-form auto/biographical documentary Orchids. Just as creative practice research challenges the dominant hegemony of quantitative and qualitative research, so does my creative work position itself as a nuanced piece, pushing the boundaries of traditional cultural studies theories, documentary film practice and creative practice method, through its distinctive distillation and celebration of a new form of discursive rupturing, the intersex voice.

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37

Linscott, Charles P. "Sonic Overlook: Blackness between Sound and Image." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1438950059.

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38

Tsakiri, Maria. "What are you looking at? : representations of disability in documentary films." Thesis, University of Stirling, 2015. http://hdl.handle.net/1893/24517.

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This study sets out to explore the representations of disability in documentary films. Its starting point is that when such representations of disability films are under examination, one needs to take into consideration a level of complexities that come with disability, the construction and functionalities of representations, and more particularly the impact of documentary films on understanding disability. In order to address this issue, I draw upon disability theory and disability aesthetics, crip theory and crip willfulness, as well as practices of good looking, synthesising in this way a theoretical framework that responds to matters of intersectionality and criticality in relation to the analysis of representations of disability. To this end, I employ a mixed method design, which is based on participant observation, the methods of the written festival and a critical disability studies (crip) analysis for examining selected documentary films alongside a thematic analysis of semi-structured interviews that were conducted with disabled viewers who attended the Emotion Pictures – Documentary and Disability Film Festival in Athens, Greece. Its findings indicate that representations of documentary films familiarise viewers with disability. This familiarisation and the development of political engagement by depicting crip killjoys are the key elements that create representations of a different context and meaning in comparison to those produced by media and fiction films. My analysis reveals that depictions of crip killjoys who are conscious of their political identity, speak out and take action are depictions that ask for political engagement. As such, they can produce good staring. Visibility and social dialogue are two of the benefits of disability film festivals that are highlighted by disabled viewers.

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39

Longley, Emily. "Like Me: Generation Z, Instagram, and Self-Branding Practices." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1093.

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The newest generation, raised and immersed in today's hyper-consumer culture, has learned to define the self within a neoliberal and capitalist framework in which self-branding and ascribing to hegemonic principles appears imperative to one’s personal success.

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40

Talero, Álvarez Paula. "WHY KATNISS EVERDEEN IS OUR FAVORITE FEMINIST – AN ANALYSIS OF THE HEROINE OF THE HUNGER GAMES FILM SAGA AND HER RECEPTION BY YOUNG FEMALE SPECTATORS." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5583.

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THROUGH THE FIGURE OF FICTIONAL CHARACTER KATNISS EVERDEEN, THIS DISSERTATION STUDIES HOW THE FILM INDUSTRY SIMULTANEOUSLY ENTRENCHES AND DISRUPTS GENDER, SEXUAL, AND RACIAL NORMATIVITIES. THE PROJECT USES TEXTUAL ANALYSIS AND PARTICIPANT RESEARCH TO ANALYZE HOW THE FILMS AND NOVELS OF THE HUNGER GAMES SAGA ENCAPSULATE BOTH DOMINANT AND ALTERNATIVE CONCEPTIONS RELATED TO FEMININITY, MASCULINITY, WOMANHOOD, AND MOTHERHOOD. IT ALSO EXPLORES IF AND HOW THE FEMALE HEROINE CAN BE READ AS FEMINIST AND PRODUCES A SENSE OF EMPOWERMENT. I CONCLUDE THAT ALTHOUGH THE INDUSTRY IS PRODUCING NEW MODELS OF WOMANHOOD THAT CHALLENGE TRADITIONAL GENDER ROLES, IT STILL PERPETUATES ROMANTIC IDEALS AND IDEALIZES THE HETEROSEXUAL NUCLEAR FAMILY AS THE ULTIMATE PATH TO FULFILLMENT FOR WOMEN. THE RESULTS OF THE PARTICIPANT RESEARCH SHOW THAT WHILE YOUNG WOMEN ARE CRITICAL OF CERTAIN ASPECTS OF THE SAGA, OVERALL THEY VALUE HAVING STRONG FEMALE CHARACTERS IN FICTION TO WHOM THEY CAN RELATE.

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Williams, Langston A. "Stay Woke." ScholarWorks@UNO, 2017. https://scholarworks.uno.edu/td/2439.

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Throughout the pages of my thesis, I comprehensively analyze the processes, intentions, and production of my thesis film Stay Woke. My examination will exhaustively probe every stage of the film from development to preproduction to production to postproduction and beyond. Individual aspects of this process including writing, casting, locations, production design, cinematography, directing, budgeting, scheduling, and postproduction workflows will be detailed. As I make elaborations in each section, I will explain my learning experiences from each day’s new tasks, challenges, and lessons. All of these things will be framed with regards to the overall goal and themes of the film.

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42

Poncelet, Eric Claude 1962. "The Japanese family/firm analogy: A critical analysis." Thesis, The University of Arizona, 1991. http://hdl.handle.net/10150/291719.

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The Japanese family/firm analogy has been utilized in the past by anthropological and business scholars for the purposes of better understanding the traditional Japanese family household (the ie) and the modern-day firm. The purpose of this study is to determine the appropriateness and utility of this analogy. To accomplish this, the study reconstructs the analogy by describing the models and theories upon which it is based and then examines it from a critical viewpoint. The conclusions are mixed. The study finds that the family/firm analogy is applicable, but only within the narrow limits defined by the specific ie and modern firm models. The analogy suffers further from its misrepresentation of Japanese families and firms, internal contradictions, and a disregard for social, economic, and political contexts. What is ultimately lost through the use of the analogy is the great complexity and diversity of Japanese society.

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43

Brinkman, Eric M. "Inclusive Shakespeare: An Intersectional Analysis of Contemporary Production." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1595003420023716.

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44

Nordbeck, Daniel. "Film som historieförmedlare - En studie kring spelfilm i historieundervisningen." Thesis, Malmö högskola, Lärarutbildningen (LUT), 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-35155.

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Syftet med denna undersökning är att undersöka vilka problem och möjligheter man kan möta med användandet av historisk spelfilm i historieundervisningen. Spelfilmens roll som historieförmedlare har ökat under de senaste åren. Idag fungerar spelfilm med historiska motiv som historieförmedlare för många människor, inte minst ungdomar. I många fall används spelfilmen i underhållningssyfte. En stor anledning till att jag gör denna undersökning är för att se närmare på hur läraren kan arbeta med spelfilmen i historieundervisningen utöver ett rent underhållningssyfte. Dessutom anser jag det viktigt att läraren har kunskap om spelfilm eftersom det är en referensram för många unga. Undersökningen bygger på litteraturstudier av tidigare forskares resultat av relationen mellan historia och film. I undersökningen diskuteras och analyseras spelfilmen utifrån följande perspektiv: pedagogiska teorier, kommunikationsteori, reception, autenticitet, dramaturgin, identitet och identifikation, Samtida avtryck i den historiska spelfilmen, historiebruk, historiemedvetande, kritiskt förhållningsätt samt källkritik. Utifrån dessa perspektiv är tanken att i slutdiskussionen presentera en matris för vad läraren bör tänka på när hon/han visar en spelfilm i historieundervisningen. Resultatet av undersökningen har visat att användning av spelfilm i historieundervisningen är långt mer komplicerad än att bara trycka på ”play”. Men planerar pedagogen bara filmanvändningen noga, utifrån olika aspekter, är det relativt enkelt att identifiera problemen och se fördelarna.
The purpose of this study is to examine problems and possibilities you may encounter when using historical motion-picture when teaching history. Motion-picture as an intermediary of history has increased in recent years. Today, motion-picture with historical motives works as an intermediary to many people, especially youths. Motion-picture is in many cases used for entertainment purposes. One of the big reasons to why I do this study is to look at how teachers can work with motion-picture in history teaching apart from the entertainment purposes. Furthermore, I believe it is important that the teacher has knowledge of motion-picture since it is a frame of reference for many youths.The study is based on literature studies of previous researchers' results of the relationship between history and picture. In the study, motion-picture is discussed and analyzed from the following perspectives: pedagogical theories, communication theory, reception, authenticity, dramaturgy, identity and identification, contemporary impressions in the historical motion-picture, uses of history, historical consciousness, a critical approach and source criticism. The idea is that from these perspectives a matrix/compilation of what the teacher should think about when she/he uses a motion-picture in history teaching will be presented.The results of the study have shown that the use of motion-picture in history teaching is far more complicated than just pressing "play". But if the teacher only plans the use of picture carefully, from various aspects, is it relatively easy to identify the problems and see the benefits.

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Balmer, B. R. "Processing studies on Bi-2212 superconducting thick films." Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326142.

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46

Burns, Andrew R. "Confirmation of Prophecy by Proxy: Audience Anticipation and Reception of the 2014 Movie Left Behind and its Relevance to the Dispensational Premillennialist Worldview." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/2019.

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Media has the potential to legitimize or spread a belief system to the general public. The 2014 movie Left Behind is an example of a deliberate attempt at promoting the belief system referred to as dispensational premillennialism (DPM), or belief in the imminent rapture of Christians. Producers of Left Behind (2014) sought to promote DPM to the general public, hoping for a mass conversion. Online discussion and interviews were gathered and interpreted qualitatively. Content analysis of audience anticipation and reception show believers were as concerned with the conversion of the general public via this movie than the movie itself. Differences between the text of the movie and discussion surrounding the film provide insights into the DPM worldview. Dispensational premillennialists are observed; rejecting earthly existence as counterfeit, asserting the general inerrancy of prophecy while rejecting “date setting” practices and using the effigy of the Antichrist to criticize perceived socio-political enemies.

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Skärström, Cajsa-Malin, Erik Wallstedt, and Linus Wennerström. "Entrepreneurial Learning : Entrepreneurial response to firm failure." Thesis, Jönköping University, JIBS, EMM (Entrepreneurship, Marketing, Management), 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-7730.

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There is a lot of research conducted in the field of general entrepreneurship, entrepreneurial learning, and entrepreneurial innovation. However, as Jason Cope (2003) came across during his research, there is little to none research made within the field of entrepreneurial learning from failure, especially from bankruptcy. The purpose of this thesis is to explore if it is possible forentrepreneurs to obtain “higher-level learning” from a bankruptcy. The research concerns whether or not entrepreneurs can learn from their mistakes, and in turn use this learning in order to become more successful entrepreneur in future undertakings. The thesis contributes to a research project on entrepreneurial response to firm failure, initiated by Anna Jenkins (2008).

As stated above, there is little to none research conducted in the field of entrepreneurial learning from a bankruptcy. Therefore theories considered closely and partly related to the subject have been revised. The overarching theory, the “Experiential learning theory” (Kolb, 1984) describes how experience can be transformed into genuine knowledge, through the steps: experiencing an event, reflecting on the event, understanding the principle under which the particular event falls and testing this new understanding under different circumstances. Jason Cope (2003) has found that entrepreneurs can obtain higher-level learning from experiencing discontinuous criticalevents by going through the phases; facing, overcoming and reflecting on events that occur during the running of a firm. This learning can be transformational; the entrepreneur realizes that current methods are insufficient, forcing him or her to adapt and change methods in future undertakings.

The main objective in this thesis was not to draw any final conclusions, rather to explore newvaluable information that can be interpreted in the main project as well as in future projects. To gather information we used a qualitative method, in which we interviewed five entrepreneurs who had recently experienced a bankruptcy. The empirical findings were later analyzed in thelight of the frame of references and the authors own viewpoint, by conducting a within case/cross case comparison.

The results show that two out of five entrepreneurs had transformed the experience from their bankruptcy into new genuine knowledge, thereby confirming that it is possible to obtain higherlevel learning from a bankruptcy. They realized their own mistakes and changed their methods in order to avoid making the same mistakes again. Three of the respondents had not critically reflected on their bankruptcy, thereby gained no new knowledge of how to change their methods in future undertakings. The major reasons as to why they were unable to do so were that they blamed external factors as the reason for bankruptcy. One of the interviewees was emotionally blocked during the bankruptcy and therefore unable to contemplate what had went wrong.

Det finns mycket forskning inom området entreprenörskap, entreprenöriel inlärning, och entreprenöriel innovation. Däremot finns det, vilket Jason Cope (2003) har upptäckt, lite eller ingen existerande forskning inom området entreprenöriel inlärning från ett misslyckande, som till exempel en konkurs. Syftet med den här uppsatsen är att utforska om det är möjligt för entreprenörer att uppnå ”higher-level learning” från en konkurs. Vi ämnar undersöka om entreprenörer kan lära sig av sina misstag och sedan använda dessa lärdomar i framtida projekt i sin strävan mot att bli bättre entreprenörer. Uppsatsen är tänkt som ett bidrag till ett forskningsprojekt om entreprenörers reaktion på företagsmisslyckande, bedriven av Anna Jenkins(2008).

Som nämnt ovan finns det knappt någon existerande forskning angående entreprenöriel inlärning från en konkurs, vilket har lett till att de teorier som är relaterade till ämnet har blivit reviderade. Den övergripande teorin, ”The Experiental Learning Theory” (Kolb, 1984) beskriver hur erfarenhet kan bli omvandlad till kunskap genom att följa stegen: aktivt uppleva en händelse,reflektera över händelsen, kunna förstå och analysera händelsen, och slutligen använda sin nya kunskap vid ett senare tillfälle. Jason Cope (2003) har upptäckt att entreprenörer kan nå en ”higher-level learning” genom att uppleva diskontinuerliga kritiska händelser och gå igenom dessafaser: tillmötesgå, övervinna/bemästra och reflektera över händelser som inträffar under företagandets gång. Den här inlärningen kan sedan omvandlas; entreprenören inser att hans nuvarande företagarmetoder inte är optimala, vilket leder honom/henne till att anpassa sig till situationen och ändra sina metoder i framtida projekt.

Målsättningen med den här uppsatsen var inte att dra några avgörande slutsatser, utan istället att utforska och behandla ny, värdefull information som kan bli användbar i den avhandling vi önskar bidra till, samt för andra framtida forskningsprojekt. För att samla information använde vi oss av kvalitativa intervjuer. Vi intervjuade fem entreprenörer, vilka alla nyligen hade upplevt en konkurs. Empirin analyserades sedan med hjälp av våra utvalda teorier och våra egna synpunkter, genom att göra en ”cross case comparison”.

Vårt resultat visar att två av fem entreprenörer har omvandlat sina upplevelser kring konkursen till genuin kunskap och därmed bekräftat att det är möjligt att uppnå ”higher-level learning” av en konkurs. De har insett sina egna misstag och ändrat sina metoder för att förhindra att samma misstag upprepas. Tre av respondenterna har inte reflekterat kritiskt över konkursen, och därför inte fått någon ny kunskap angående hur de skulle kunna ändra sina metoder inom företagande inför framtida projekt. Den främsta anledningen till varför de var oförmögna att reflektera över händelsen var att de skyllde konkursen främst på externa faktorer. En av de intervjuade var även känslomässigt blockerad under konkursen och därför inkapabel att begrunda sina misstag.

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48

Senger, Saesha. "Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century." UKnowledge, 2019. https://uknowledge.uky.edu/music_etds/150.

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This dissertation explores issues of gender politics, market segmentation, and taste through an examination of the contributions of several artists who have achieved Adult Contemporary (AC) chart success. The scope of the project is limited to a period when many artists who figured prominently in both the broader mainstream of American popular music and the more specific Adult Contemporary category were most commercially viable: from the mid-1980s through the 1990s. My contention is that, as gender politics and gendered social norms continued to change in the United States at this time, Adult Contemporary – the chart, the format, and the associated music – was an important, if overlooked or even trivialized, arena in which these shifting gender dynamics played out. This dissertation explores the significance of the Adult Contemporary format at the end of the twentieth century through analysis of chart performance, artist image, musical works, marketing, and contextual factors. By documenting these relevant social, political, economic, and musical factors, the notable role of a format and of artists neglected by scholars becomes clear. I explore these issues in the form of lengthy case studies. Examinations of how Adult Contemporary artists such as Michael Bolton, Wilson Phillips, Matchbox Twenty, David Gray, and Mariah Carey were produced and marketed, and how their music was disseminated, illustrate record and radio industry strategies for negotiating the musical, political, and social climate of this period. Significantly, musical and lyrical analyses of songs successful on AC stations, and many of their accompanying promotional videos highlight messages about musical genre, gender, race, and age. This dissertation ultimately demonstrates that Adult Contemporary-oriented music figured significantly in the culture wars, second and third wave feminism, expressions of masculinity, Generation-X struggles, postmodern identity, and market segmentation. This study also illustrates how the record and radio industries have managed audience composition and behavior to effectively and more predictably produce and market music in the United States. This dissertation argues that, amid broader social determinations for taste, the record industry, radio programmers, and Billboard chart compilers and writers have helped to make and reinforce certain assumptions about who listens to which music and why they do so. In addition, critics have weighed in on what different musical genres and artists have offered and for whom, often assigning higher value to music associated with certain genres, socio-political associations, and listeners while claiming over-commercialization, irrelevance, aesthetic insignificance, and bad taste for much other music.

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Haas, Tara Nicole. "Critiquing the Critic: A Case for Journalistic Criticism in the Theatre." BYU ScholarsArchive, 2015. https://scholarsarchive.byu.edu/etd/5512.

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This thesis suggests that journalistic theatre criticism is a necessary and vital aspect of the theatre, promoting a healthy theatre community and culture. A healthy theatre community is supported by critics and artists alike, and is one where citizens are excited about the theatre, desiring to participate and engage with it often. It is one where artists and spectators listen, respect, and trust one another, being open to opinions and suggestions that may enhance and improve the theatre community. A healthy theatre community strives to provide theatre that may be multi-faceted in purpose, but allows for opportunities to challenge, uncover, teach, or simply entertain to become magnified, creating transformative experiences within the viewers. In the most utopic state, healthy theatre causes epiphanies that provide glimpses of a better world, one where individuals and societies may know peace. These interactions, with the magic that theatre can bring, may benefit communities on a level ultimately akin to changing the world. Journalistic criticism supports such healthy theatre by increasing interest and viewership, contributing to the theatre's growth, and recognizing ways in which it can utilize its deepest potential. In this thesis, I have performed qualitative and action research in order to evaluate myself as a critic. The thesis also explores how criticism functions in our society and, further, how it should function. I have analyzed various theatrical reviews I have written, and placed them into three sections, each representing a distinct element of theatre criticism. These elements comprise the most fundamental and vital functions of a review that leads to a healthy and improved theatre community. These sections are: “Increasing Promotion,” “Honest and Specific Feedback,” and “Emphasizing Social Justice.” Grouping the reviews into these sections, I will identify how I have contributed to the field of theatre criticism, and to these three realms in particular. I will also be able to recognize and indicate how I can progress as a critic to help support the field of journalistic theatre criticism. This thesis is very insular, personal, and beholden to me, presenting distinct limitations. The value of this work lies primarily in giving aspiring critics the opportunity to learn from my experiences and insights. Above all, this thesis holds value because of the improved critic I have become from completing it, ultimately able to better serve people in my writing for years to come.

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Kojo, Lovis. "Filmkritikens retorik : En kvalitativ studie av recensioner till hög- och populärkulturella filmverk." Thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-146647.

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The divide between popular culture and high culture has been a subject of discussion since the early days of media research. Even though popular culture has a somewhat higher status today than in the early 1900’s, the division between the two cultural forms still exists. For example, the movies that appeal to the great masses are rarely awarded the most prestigious European film prices. The aim of this study was to examine how these two cultural practices is separated in film reviews on the Swedish film site MovieZine with the use of the socio-cultural theories of Adorno, Horkheimer and Bourdieu. The main issues consisted of what types of rhetorical arguments the critics use to value the film, and what types of cultural references they make in the different reviews The selection of the movie reviews for this study was based on the ten most viewed movies in Swedish cinema in 2016, and ten movies that were awarded some of the most prestigious and refined American and European film prices in the same year. The general result showed that the film critics used different types of rhetorical arguments based on what type of films they reviewed. In their reviews of the more high cultural films, the citric based their arguments on matters that are considered to be of a more intellectual and analytical kind, than in the reviews of the films that appeal to the masses. The critics often referred to movies or other cultural phenomenon that could be placed on the same side of the cultural spectrum as the movies they reviewed.

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Dissertations / Theses on the topic 'Critical film studies'

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