Dissertations / Theses: 'Race in film'

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Sim, Gerald Sianghwa. "The race with class towards a materialist methodology for race in film studies /." Diss., University of Iowa, 2007. http://ir.uiowa.edu/etd/187.

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Sutton, Anna. "Ahua : Māori in Film." Thesis, University of Canterbury. Maori and Indigenous Studies/Sociology, 2011. http://hdl.handle.net/10092/5518.

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This thesis draws together three strands for analysis: the social, political and historical narrative of race-relations, which has framed Måori subjectivity in the 20th and early 21st century. The themes identified are namely, the politics of representation of Måori subjectivity from extinction, to assimilation and then to biculturalism in film in eight New Zealand films: Rewi’s Last Stand (1925/40), Broken Barrier (1952), To Love a Maori (1972), Utu (1983), Ngati (1987), Mauri (1988), Once Were Warriors (1994) and Whale Rider (2002). While this claim has its roots in some of the earlier New Zealand films, the primary area of analysis will be upon the fundamental shift from 1985 onwards on the representation and interpretation of Måori subjectivity. It is argued that this fundamental shift is influenced by two significant developments in the New Zealand context: namely the Treaty of Waitangi settlement process and the State’s adoption of the socio-political ideology of biculturalism in which to theorise race-relations.

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Larrieux, Stephanie F. "Racing the future: Hollywood science fiction film narratives of race." View abstract/electronic edition; access limited to Brown University users, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3319100.

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Pichaske, Kristin. "Colour adjustment : race and representation in post-apartheid South African documentary." Doctoral thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/8248.

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Includes abstract.
Includes bibliographical references (p. 251-267).
The goal of this dissertation is to examine the process of racial transformation within South Africa's documentary film industry and to assess how the nation's shifting identity is both influenced by and reflected in documentary film. Drawing examples from a diverse collection of local and international films, I have examined changes in who is making documentaries in South Africa and how, as well as the representations of race that result. In particular, I have focused on how the balance of insider vs. outsider storytelling may be shifting and to what effect. At the same time, I have qualitatively examined the representations produced by black/insider filmmakers as compared to those of white/outsider filmmakers in order to assess the impact of the filmmaker's racial status on outcomes. Finally, I have investigated ways in which the tradition of white-onblack storytelling must change in order to satisfy the political shift that has taken place in South Africa and the cultural sensitivities that have resulted.

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Gates, Philippa Charlotte. "Investigating the male : masculinity and the Hollywood detective film." Thesis, University of Exeter, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.391838.

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Maltry, Melanie A. "The work of queer: sexuality, race and subjectivity in late capitalism." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1374494693.

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Keenan, Sharon M. "A Choreographic Exploration of Race and Gender Representation in Film and Dance." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1002.

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Through extensive research which culminates in a choreographic component, this thesis explores the lack of diverse representation within artistic and entertainment industries in regards to race and gender. In pursuit of a concise argument, most of the focus is on race and the conditioned view of gender as binary. Looking specifically at dance and film, it considers and analyzes why this absence persists, along with ways to ensure progress. The analysis and exploration unfolds in five central chapters: Research, Conception of the Dance, One and the Same, and Try It On Make It Fit. By detailing all that goes into creating a space that consistently hinders representation of minorities, this project will provide a better understanding of how minority communities are affected as a result. With this knowledge, I hope to present solutions that are simple with an attempt to demonstrate the urgency for new methods that expand portraits of diverse and authentic representations outside of the “norm.” The significance of this project lies in the articulation of an issue that is too often ignored. Change will not happen until it becomes unacceptable for people to remain ignorant and complacent on the subject.

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Rafferty, Barclay. "Adaptations of Othello : (in)adaptability and transmedial representations of race." Thesis, De Montfort University, 2015. http://hdl.handle.net/2086/12075.

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This thesis examines adaptations of William Shakespeare’s The Tragedy of Othello, the Moor of Venice (c. 1601–4) across media, comparing cinematic, televisual, musical, visual art, and online adaptations, among others, in an endeavour to determine its adaptability in various periods and cultural and societal contexts, with a focus on the issue of race. Shakespeare’s seeming endorsement of a racial stereotype has proved to be challenging in adaptations, which have not always been successful in either reproducing or interrogating the issue, despite the fact that the play has continuously been engaged with across media, periods, and cultures. Resultantly, the thesis considers the ways in which the race issues present in Othello have been exploited, adapted ‘faithfully’, ignored, and negotiated in different contexts. Sustained consideration of representations of the race issues of the play from a Western perspective has not been undertaken previously and this thesis analyses the use of Othello as a vehicle for commenting on and reflecting contemporary current events through the lenses of adaptation theory and the singular history that adaptations of Shakespeare’s work have. Initially, the thesis explores national readings of screen adaptations (from the United States, Great Britain, and outside the Anglo-American gaze), before grouping adaptations by media (such as music and online videos, as well as allusions in other media), deducing why specific adaptive trends have endured in Othellos, examining the relationship between the adaptability of the play and the media in which it is placed. A pertinent question addressed is: what is Othello’s place in adaptations of Shakespeare’s work – and how adaptable is it when both black and white performers and adapters perpetuate racial stereotypes? One conclusion drawn is that – despite its prevalence across media – Othello is inadaptable when its race issues are linked – through various methods – to the contexts in which it is placed, changing them in the process.

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Varner, Natasha. "La Raza Cosmética: Beauty, Race, and Indigeneity in Revolutionary Mexico." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/612404.

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This dissertation traces the creation of identity, race, and gender ideals during a period of heightened nationalism in Mexico from 1920 through 1946. In hopes of reestablishing stability and prosperity following a decade of Revolutionary warfare, an enterprising group of mid-level bureaucrats, artists, and intellectuals devoted themselves to the creation of a unified national identity. This period of nation building coincided with a boom in visual technologies, thus popular visual culture became an important site for articulating and disseminating new nationalist ideals to the masses. Women were positioned as the ideal conduits for disseminating national identity to the masses and they increasingly bore symbols that wed Indigenous heritage with Mestizo identity in popular culture depictions. Analyzing this nation building process through the lens of beauty as it was mediated through pageants, film, photography, and other ephemera allows for insight into the construction of gendered, racialized identity ideals. While much of this visual discourse was trafficked in the realm of ideas and ephemera, it was also very much based in place. This dissertation analyzes how these projects both shaped and were influenced by efforts to modernize and preserve sites of living Aztec memory in Mexico City. Examination of this identity project in place allows for glimpses of myriad counter-narratives in which Indigenous peoples strategically engaged with and resisted imposed race and gender ideals. Finally, this dissertation considers how the Revolutionary-era conflation of race and culture laid the foundation for a contemporary multiculturalism that discursively elides the existence of widespread inequity and structural racism.

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Sanchez, Tani Dianca. "Race and the Matrix Movie Trilogy." Diss., The University of Arizona, 2006. http://hdl.handle.net/10150/215411.

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Using a close textual and contextual analysis, I trace themes of gender and race in the Matrix trilogy, arguing for the presence of a parallel, embedded filmic narrative, one that neatly aligns with African-American critical traditions affirming subjugated ideologies, knowledges, communities and forms. Decoding the films through the lenses of race, womanist, film studies and cultural studies theories, I explore this signified, covert storyline through phenotypes, casting choices, plot twists, and extra filmic events. In this dissertation project, I argue that their preponderance, consistency, and coherence are evidence of deliberate commentary. I further claim that that the trilogy can be reasonably understood as a historically motivated critique of Whiteness and White supremacy, offering references to American slavery and ideologies, as well as to cross-racial ideological domination and collective, coalitional and revolutionary change. Since long standing racial and gender understandings (along with their attendant domination and oppression) persist, examining popular films with transformed constructions is useful in supporting frameworks for conceptual change.

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Cunningham, D. M. "The ' film' on whiteness : depicting white trash in U.S. film, 1972-2002 /." View thesis, 2004. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20041210.111324/index.html.

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Slack, Neil Graham. "A cinema of white masculine crisis : race and gender in contemporary British film." Thesis, University of Sussex, 2010. http://sro.sussex.ac.uk/id/eprint/2380/.

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The focus of this thesis is contemporary British cinema. Specifically, the emergence of a representational trend within its texts that has resulted in a disproportionate number of films whose protagonists are white, male, and who are in some way, beset by crisis. Two categories of identity are thus explored in this thesis, each of which possesses its own register of meaning, each of which requires (or seems to require) a particular approach in terms of the way that it is represented in film. These two categories are race and gender. In every sense then, this thesis seeks to take part in the dialogue which since the late eighties and particularly during the 1990's, has formed around the idea that contemporary white masculinity is in crisis, and has sought to provide evidence both for and against that idea in the texts of contemporary popular culture. What this thesis aims to add to that dialogue, however, is a greater awareness of the way in which race functions in society and in cultural representations, as well as a better understanding of the extent to which its influence is discernible in the texts of contemporary British cinema alongside the trend towards portrayals of white masculine crisis. Employing a cultural studies trajectory throughout, this thesis draws on areas of whiteness and race theory, masculinity studies, film theory, culture and media studies, plus theories of representation, in presenting its arguments, and uses the tools of close textual analysis during the film readings that are its single largest element. Special emphasis is placed on situating both the arguments put forward and the films discussed in their appropriate cultural context, and the thesis frequently looks for parallels outside cinema as a means of illustrating key ideas. Ultimately, this thesis aims to increase the balance of the discussion on the subject of white masculine crisis by highlighting the first term in the phrase, and to better the understanding of contemporary British cinema in the process.

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Moragia, Anita Mwango. "‘Do I even belong?' Interrogating Afro-diasporic navigation of identity, race and space in the search for belonging." Master's thesis, Faculty of Humanities, 2020. http://hdl.handle.net/11427/32287.

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The departure point for this creative project is based on my experience as an African living in diaspora. While I felt many things during my time ‘away' from the African continent, one constant was always this feeling of unbelonging, and this need to find belonging. As such, this project centers around the theme ‘finding belonging in diaspora'. Growing up in Kenya, I had never really come to terms with the politics of my Kenyanness not to mention my blackness. I had simply just been me. While in Kenya, the only real identifiers I had to contend with that carried heavy politics were my gender and my tribal affiliation. After leaving Kenya and arriving in Canada for school at the age of 16, for the first time in my life I felt black and I felt African. Both identities I felt did not belong in this Canadian space. Over the course of 9 years, I lived in both Canada and London and neither ever warmed me like home. In most, if not all the predominantly white spaces I frequented, I always felt too little of something and too much of something else. As such,, I found myself intentionally and unintentionally drawn to those like me, in colour, in language, and culture. It is only today I have realised that those intentional and unintentional unions I formed were a result of my search for belonging, which I came to find is common in the diaspora experience. Ann Hua, a black diaspora scholar, defines diaspora as a community of people who have been dispersed from their homeland to other locations because of genocide, slavery, migration, and war (Hua, 2013; 31). It's important to note that for many, induction into the Afro-diaspora is involuntary. As Hua notes, political unrest, genocide, war, and slavery has forced many to leave their homes and either seek asylum or become indentured laborers elsewhere. We have seen this throughout the eras, from the 15th-century trans-Atlantic slave trade, capturing of Africans, transporting them to the Americas and coercing them into slavery (Gates Jr., 2017), to the 20th-century dispersion of Rwandese nationals fleeing genocide§ (Guichaoua, André & Webster, Don E. 2015). The identity of diaspora comes in both anticipated and unanticipated ways. Fortunately, my induction into the Afro-diasporic community was a voluntary one and the bulk of this project interacts with voluntary Afro-diasporic migrants. During my time in Canada and London, I met many members of the Afro-diasporic community who ended up in these countries in a variety of different ways and for a variety of different reasons. The theme of ‘finding belonging' was omnipresent among my fellow Afro-diasporic community members and it would manifest itself in various ways. For instance, wanting to go to African restaurants to feel more ‘at-home', or wanting to visit African night clubs to listen to more music from ‘home'. Interestingly, I also began to see that this journey towards ‘finding belonging' also manifested in Afro-diasporic communities rejecting assimilation into their new societies and creating spaces of resistance, through organising protests or hosting discussions that centred around issues of race.

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Pinczower, Zoe A. "Roles, Race, and Receipts: The Implications of Foreign Racial Preferences For the Supply of U.S. Films." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/cmc_theses/1518.

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Numerous U.S. studio executives claim that the lack of on-screen racial diversity is a result of producers responding to discriminatory racial preferences of international audiences. To test these claims, this paper augments prior film financial success models by introducing measures of cast diversity to quantify the impact that actor race has on film revenue in the domestic and international market. Using OLS regressions, I examine and compare this effect within the domestic and aggregate movie market to investigate the underlying motivations for producers to not cast nonwhite actors. The findings support the claims made by studio heads that, on the whole, films with greater levels of diversity significantly underperform in the international box office, yet are not a strong determinant for domestic consumption. Although producers may be making assumptions about foreign demand when investing in films, the revenue regressions seem to support their assumptions. However, the results are ultimately difficult to interpret. Holding budget and other key film characteristics constant, more diverse films perform poorly relative to less diverse films in foreign markets, so the demographic disparities in films could be mostly driven by rational, profit-maximizing behavior from studios and producers.

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Sachs, Aaron Dickinson. "The hip-hopsploitation film cycle: representing, articulating, and appropriating hip-hop culture." Diss., University of Iowa, 2009. https://ir.uiowa.edu/etd/591.

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In this dissertation, I examine the articulation of hip-hop in the mid-1980s as it emerged onto the national stage of American popular culture. Using Articulation Theory, I weave together an argument explaining how and why hip-hop went from being articulated as a set of multicultural and inclusive practices, organized around breaking, graffiti, and DJing, to being articulated to a violent, misogynistic, and homophobic hyper-masculine representation of blackness as essentially rap music culture. In doing so I also argue that there are real political, social, racial, cultural, and ideological implications to this shift in articulation; that something is at stake in defining hip-hop as both black and rap music culture. I put forward this argument by making three distinct steps over the course of this dissertation. First, I identify a change in how hip-hop was represented and thus articulated in popular media. Through an intertextual analysis of the hip-hopsploitation genre films I show that early hip-hop was being represented primarily as a set of cultural practices cohering around breaking, graffiti, and DJing rather than the now dominant articulation as rap music culture. Next I set forth one possible reason for this shift within the limiting conditions set by the available media technologies and means of commodification. The visual nature of hip-hop's early articulation coupled with the economic inaccessibility of consumer home video made breaking and graffiti difficult to commodify compared to rapping as an aural element. Using "technological determinist" theorists like McLuhan, Innis, and Kittler, I argue that understanding how hip-hop as been historically constructed requires analyzing the limiting effect that the material conditions of media technologies have on the production of hip-hop. Finally, I offer a second, racial and cultural reason for this shift in articulation, and begin identifying some of the significance of this shift. A key aspect of the articulation of hip-hop as rap music is the further connection to blackness. This connection may function to maintain white patriarchal hegemony by displacing it on the black body via rap music: a complex dynamic of disidentification and appropriation.

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Brown, Bryan. "Addicted to the Addict: Hollywood's Sinuous Relationship With the Drug-Addict in the 1970s." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/dissertations/906.

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This study explores how the representation of the drug-addict in Hollywood cinema has changed due to governmental and studio policy change, social shifts of opinion, and economic structure. This discussion and exploration primarily focuses upon narrative Hollywood film as this industry has a long and varied history of addiction films. While there have been a variety of shifts in the depiction of drug-addiction due to social changes and industry regulation, perhaps at no other time in cinema history has the culmination of economics, politics, and independent art had such a large impact on the depiction of addiction than in the 1970s. This defining decade did more than alter the social perspective on drug usage; it set the stage for a drastic alteration in the perception of drug-addiction that occurred in the decades to follow. The Seventies were filled with social upheaval and a powerful youth movement that altered the representation greatly. This study discusses three types of drug-addiction representation and the social, political, and economic context in which they reflect and influence. While the social importance placed upon cinema is not questioned in this investigation, the techniques of representation of the addict in film are explored. I examine three characterizations in the addiction films of the 1970s. These phases include, but are not limited to representations of African-Americans, war veterans, and narcissists as drug-addicts in American cinema. I propose that the representation of the addict has shifted due more to sociological impacts rather than an audience-centered and message driven approach. Expounding further, I argue that the sociological impacts, such as federal legislation, are more impacting on the representation of the drug-addict in film rather than a decisive message about addiction for the benefit of the audience. The political-economic, cultural dynamic also plays a significant role in the development of such representation

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Thompson, Katherine Clay. "Cinema, Race, and Justice: A Qualitative Analysis of Selected Themes." Digital Commons @ East Tennessee State University, 2007. https://dc.etsu.edu/etd/2109.

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The purpose of this study was to examine 7 different crime and justice films and provide a content analysis incorporating restorative justice and peacemaking perspectives. The 7 films examined in this study included 12 Angry Men, A Family Thing, American History X, American Me, Crash, Shawshank Redemption, and Traffic. The researcher examined the films and used content analysis to examine the behaviors and actions of the characters. The films were examined using 5 different analytical themes: "embracing change", "second chances", "hope", "connectedness", and "becoming more human". The current study found the 7 films examined all displayed both restorative justice and peacemaking perspectives.

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Ooten, Melissa D. "Screen strife: Race, gender, and movie censorship in the New South, 1922--1965." W&M ScholarWorks, 2005. https://scholarworks.wm.edu/etd/1539623484.

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In 1922, Virginia's General Assembly created a Motion Picture Censorship Board, which viewed every movie seeking legal exhibition in Virginia until 1965. This cultural regulation of popular culture complemented other economic and political policies of the state designed to buttress the power of white, middle-to-upper class elites within the state. to this end, the censors, empowered by the authority of the state, were particularly concerned with regulating certain images of African Americans and female sexuality on-screen.;Yet the process of censorship was a contested, fluid practice, and individuals and community groups protested formal censorship decisions. Furthermore, filmmakers whose films were not allowed to play in the state often took more covert methods to get their films show. African-American filmmaker Oscar Micheaux continually worked with theater owners to get his officially censored fare shown to Black communities despite a state ban against them. While censorship decisions, despite contestation, stood unimpeded in the 1920s and 1930s, by the end of the World War II, many Virginians no longer accepted the cultural authority afforded the censorship board. A wide variety of groups protested the board's censorship of the anti-Klan film The Burning Cross in 1947.;With rising civil rights protests, waning movie profits, and federal court decisions which continually expanded First Amendment protections to the movies, the work of the censorship board was continually constricted until, by the early 1960s, the censors only had the legal authority to censor ambiguously-labeled "obscenity" from the screen. In 1965, the U.S. Supreme Court ruled that "a priori" censorship which determines whether a movie is or is not suitable prior to its exhibition, was unconstitutional. as a result, Virginia's censorship board disbanded, and the General Assembly officially dissolved it in early 1966. Virginia's moviegoers enjoyed a brief interlude in which most any material could be found on some theater screens, including the hardcore pornographic film Deep Throat (1972). In 1973, however, the U.S. Supreme Court returned jurisdiction over such material to local authorities in the Miller v. California ruling. Thus film and other cultural offerings could be deemed acceptable in some locales yet forbidden in others.

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Wagner, Jessica Lauren. ""An unpleasant wartime function" race, film censorship, and the office of war information, 1942-1945 /." College Park, Md.: University of Maryland, 2007. http://hdl.handle.net/1903/7147.

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Thesis (M.A.) -- University of Maryland, College Park, 2007.
Thesis research directed by: Dept. of History. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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Logan, Nneka. "Uncovering the Range of Intentions and Interpretations Associated with N-Word Usage in American Film." Digital Archive @ GSU, 2006. http://digitalarchive.gsu.edu/communication_theses/12.

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Uncovering the Range of Intentions and Interpretations Associated with N-Word Usage in American Film by Nneka Logan Under the Direction of Michael Bruner ABSTRACT This thesis is an analysis of contemporary N-word usage. Key points are that there is more than one N-word in circulation, and that “nigger,” the racial slur, is only one conception of the N-word. A second point is that “nigga” is a separate word with a separate scope of meaning. I also argue that usage of “nigga” is a complex communicative phenomenon that cannot be essentialized in terms of race, socioeconomic status and other social factors. I argue that contemporary N-word usage is not an exclusively black cultural endeavor, but in fact a multiracial phenomenon. To support my assertions I employ communication, race and N-word scholarship, and I apply the scholarship to the text of American film. A study of this kind is significant because increasing numbers of people are being exposed to the N-words in a variety of contexts, but many are unaware of their important semantic differences. INDEX WORDS: Nigger, Nigga, N-word, Race, Interracial Communication, Hip Hop, Pop Culture

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Kern, Jordan. "The Mouse Sees No Color: An Examination of the Disney Corporation’s Recent Depictions of Race in American History." Digital Commons @ East Tennessee State University, 2021. https://dc.etsu.edu/etd/3907.

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Walt Disney Studios possesses a checkered past in how its films dealt with racism and representation. Some of the earliest films involved songs and characters that go against modern sensibilities. In recent years, the studio's films have attempted to go against their forebears' racist connotations. Racism, however, proved a constant problem for the company. This paper shall explore the various ways Disney feature films addressed (or did not address) themes of racism and discrimination in its films from 1990 to 2018. The first chapter discusses the business reasoning behind Disney's continued reluctance to address race issues adequately, chiefly fear of losing monetary revenue from alienated whites. The second chapter explores the different types of coding filmmakers employed to keep from directly address race, coding all characters as white in the process. This method lasted until the Princess and the Frog's release because the film's blatant use of Jim Crow imagery caused a considerable amount of backlash. The final chapter concerns how the corporation's current method of dodging race in its films. Dubbed the "Fantastical Reality," this method relies on leaning into the fantastic aspects of a setting (magic or otherness) to explain why race and racism do not appear in a film. This method came under heavy scrutiny with Zootopia and Black Panther's release, both of which make race a significant theme.

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McCarthy, Mark R. "As Good as it Gets: Redefining Survival through Post-Race and Post-Feminism in Apocalyptic Film and Television." Scholar Commons, 2018. http://scholarcommons.usf.edu/etd/7196.

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Concentrating on six representative media sites, 28 Days Later (2002), Dawn of the Dead (2004), Land of the Dead (2005), Children of Men (2007), Snowpiercer (2013), and one television series The Walking Dead (2010-present), this dissertation examines the strain of post-millennial apocalyptic media emphasizing a neo-liberal form of collaboration as the path to survival. Unlike traditional collaboration, the neo-liberal construction centers on the individual’s responsibility in maintaining harmony through intra-group homogeny. Through close textual analysis, critical race theory, and feminist media studies, this project seeks to understand how post-racial and post-feminist representational strategies elide inequality and ignore tensions surrounding racial or gender differences to create harmony-through-homogeny in popular apocalyptic film and television.

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West, Tiffany. "A Generation of Race and Nationalism: Thomas Dixon, Jr. and American Identity." FIU Digital Commons, 2016. http://digitalcommons.fiu.edu/etd/2579.

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Thomas Dixon (1864-1946) has won a singular place in history as a racial ideologue and an exemplar of Southern racism. The historical evidence, however, suggests Southern culture was only one of a variety of intellectual influences, and, though highly visible in most famous works, not Dixon’s primary concern. Rather, his discussions of the South are framed within larger intellectual debates over the region as a whole, and how it related to the rest of the nation. Throughout his life, Dixon helped shape and articulate those values in the formation of a new American identity at the turn-of-the-century. By incorporating the methods of intellectual biography, whiteness studies, literary analysis, and cultural studies into the scholarly approaches of history, this work enlarges the historical understanding of Dixon through the examination of his very long life and varied career and the exploration of his equally diverse and numerous writings, both personal and public. This project’s end goal is to enrich historical understanding of how national identity is interpreted, constructed, and shaped over time, and the many different components influencing its formation. This research found that defining what is and is not American built on and responded to the major issues of a specific historical context. Dixon’s, and the nation’s larger attempts at defining the terms of Americanism became increasingly complicated during key national turning points, such as the Spanish-American War, the economic depressions of the 1890s, and political realignments at the turn-of-the-century. Analyzing Dixon’s works revealed the influence of the various forces that reshaped American identity, including race theories, scientific advancements, immigration, sectional reconciliation, imperialism, and religion. This work concludes that national identity construction is fluid, and that researchers must consider the importance of historical context in analyses of ideology and cultural trends.

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Gullette, Christian Mark. "Challenging Swedishness| Intersections of Neoliberalism, Race, and Queerness in the Works of Jonas Hassen Khemiri and Ruben Ostlund." Thesis, University of California, Berkeley, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10821833.

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This dissertation explores the work of author Jonas Hassen Khemiri and filmmaker Ruben Östlund, examining the ways both artists consistently negotiate racial identification and “Swedishness” in neoliberal economic contexts that are often at odds with other Swedish, exceptionalist discourses of social justice. Khemiri and Östlund represent contrasting perspectives and tonalities, yet both artists identify the successful competition for capital as a potentially critical component in achieving access to “Swedishness.” Khemiri and Östlund recognize that race and economics are intertwined in neoliberal arguments, even in Sweden, something their works help to elucidate. The implications of such similar observations from very different artists might go overlooked if discussed in isolation.

I argue that it is crucial to analyze the negotiation of identity in these works not merely in abstract economic terms, but through their use of a very specific neoliberal economic discourse. In Khemiri’s and Östlund’s work, characters-of-color and white characters alike employ and internalize this neoliberal discourse as they compete in a highly racialized Swedish society filled with increasing economic precarity. I will also discuss the ways Khemiri and Östlund continually undermine these characters’ attempts to succeed in this economic competition, and what this may say about the need for the ultimate deconstruction of normative categories of identity.

Another aim of this dissertation is to explore the ways Khemiri and Östlund use queerness as a conceptual strategy to mediate the understanding of race and economics. Nearly every one of Östlund’s films and most of Khemiri’s novels and plays feature queerness in the form of homosexual characters, homoeroticism, and/or homosociality. The ubiquity of queerness in their work helps us understand the connection between masculinity and the maintenance of economic privilege. Queering this connection can generate narratives that undermine normative categories and present new ways of thinking about neoliberal ideology.

However, both Khemiri and Östlund frequently undermine the potential positives of what Jack Halberstam calls “queer failure” and portray what appears as actual failure (Halberstam 2011). Khemiri and Östlund leave queer characters or characters who experience queerness in ambiguous positions, in which their queerness either fails to rescue them from toxic hetero-masculinity and/or becomes a symbolic manifestation of the dissolution of stable sense of selfhood amid competing discourses of “Swedishness.” This dissertation will examine the implications of actual queer failure in relation to neoliberalism in these works. The tension between competitive success or failure becomes even more pointed for a spectator or reader when the competitors are children, potential symbols of Sweden’s future. In both artists’ work, the figure of the child continually represents this tension between competing, social-justice and neoliberal discourses.

Chapter One examines Khemiri’s first two novels, Ett öga rött (2003) and Montecore – en unik tiger (2006), as well as his play Invasion! (2006), exploring the way characters interpret and perform neoliberal economic values and how success and/or failure either jeopardizes or enhances a stable sense of identity. Chapter Two shifts attention to Östlund’s earlier films, focusing on his first widely-released and controversial films De ofrivilliga (2008), Play (2011) and Turist (2014), considering how characters embody or challenge notions of the neoliberal subject of capacity. In Östlund’s films, this struggle with “Swedishness” is often portrayed as a Nietzschean tension between individual will and social pressure. Chapter Three will compare and contrast Östlund’s and Khemiri’s most recent works ≈[ungefär lika med] (2014), Allt jag inte minns (2015), and The Square (2017). In this final chapter, I argue that Khemiri’s and Östlund’s most recent work demonstrates a departure from their previous plays, novels, and films in two critical ways. First, all three works situate capitalism as the overarching cause of internalized tensions between the individual and society. Second, characters in these later works who embody neoliberal values symbolize the ultimate fractured identity. Östlund and Khemiri appear to have followed a similar arc toward representing actual physical and mental embodiment of the effects of economic systems. The dissertation’s conclusion suggests additional perspectives on the above works and offers ideas for potential future scholarship.

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Boyle, Brenda Marie. "Prisoners of war formations of masculinities in Vietnam war fiction and film /." Connect to this title online, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1060873937.

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Jacobson, Lara K. "Diversity and Democracy at War: Analyzing Race and Ethnicity in Squad Films from 1940-1960." Chapman University Digital Commons, 2019. https://digitalcommons.chapman.edu/war_and_society_theses/6.

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Both the Second World War and the Korean War presented Hollywood with the opportunity to produce combat films that roused patriotic spirit amongst the American people. The obvious choice was to continue making the popular squad films that portrayed a group of soldiers working together to overcome a common challenge posed by the war. However, in the wake of various racial and ethnic tensions consistently unfolding in the United States from 1940 to 1960, it became apparent to Hollywood that the nation needed pictures of unity more than ever, especially if America was going to win its wars. Using combat as the backdrop, squad films consisting of men from all different backgrounds were created in order to demonstrate to its audiences how vital group cohesion was for the survival of the nation, both at home and abroad. This thesis explores how Hollywood’s war films incorporated racial and ethnic minorities into their classic American squads while also instilling the country’s inherent values of democracy.

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Bendelhoum, Hadia Nouria. "TRAGIC MULATTA 2.0: A POSTCOLONIAL APPROXIMATION AND CRITIQUE OF THE REPRESENTATIONS OF BI-ETHNIC WOMEN IN U.S. FILM AND TV." CSUSB ScholarWorks, 2017. https://scholarworks.lib.csusb.edu/etd/598.

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This study analyzes the representations of five bi-ethnic women characters in U.S. mass media both before and after U.S. “post-racial” era, to find and expose evidence of the continuity and perpetuation of racist stereotypes against biracial/bi-ethnic women. I utilize a thematic textual analysis, supported by the theories, ideas, and critical views of postcolonial theorists Frantz Fanon, Gayatri Spivak, and Edward Said, and composed of three prominent themes which expose the nature of the representations of lead bi-ethnic characters in current mass media entertainment (TV programs and films). The themes further explored through this project are: bi-ethnicity (one Black parent and one White parent) as a) over exoticized or hypersexualized; b) inherently problematic; and c) destined for non-existence through invisibility, elimination, and even death. In a second step, I critically examine the theme of the tragic mulatta present in Imitation of Life (Hunder & Sirk, 1959), a film released during the epoch of the African-American Civil Rights Movement (1954-68), and the TV mini-series Alex Haley’s Queen (1993) to then highlight how it becomes immortalized transmedia (across diverse media platforms and historical moments) and ever-present in current “post-racial era” entertainment media film. To examine this, I compared one modern film and that portrayed a leading bi-ethnic woman–Dear White People (2014)– to then compare to the film mentioned above. I then compared TV programs that portray supporting bi-ethnic women characters in Suits (2011), Black-ish (2014), and Empire (2015) to then compare to the TV miniseries mentioned above. Finally, I contend that the presence of transmedia storytelling of the fixation, and manipulation of the supposed political correctness of the tragic mulatta archetype stands to reinforce its dominance in media portrayals. Moreover, the fragmentary existence is based on a lack of research and the indolent borrowing from previous archetypes.

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Scholtz, Loraine. "Waardes, houdings, identiteitsbelewenisse en stres in die Suid-Afrikaanse film- en dramabedryf / Loraine Scholtz." Thesis, North-West University, 2004. http://hdl.handle.net/10394/412.

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The South African work environment is characterised by a highly differentiated labour force regarding culture, race, ethnicity, language, gender and school education. Since 1994 the focus has increasingly been on getting the labour corps to function at an equal level. As a result of the historic backlog with regard to training, social development and communication that prevails among the black labour corps, a breeding-ground for racial and/or ethnic conflict and stress can arise. Worldwide cultural differences within the same community are by no means an uncommon phenomenon. Die aim of this thesis was to establish what the nature and impact of values, attitudes, identity experiences and stress is among student groupings at the African School for Film and Dramatic Art (AFDA), as well as to determine the psychometric features of the distinctive measuring instruments. This study was undertaken after a decade of political transition in South Africa within a culturally diverse student population. A once-off cross-section population was used as sample (n = 247). The survey group consisted of two sub groups: black students (n = 80); white students (n = 160). Their terms of study at the AFDA ranged from one to four years. Values were measured by means of the Value Scale of Scholtz (1996). Attitudes were measured on the basis of Du Toit's Contact and Intercultural Perception Scale (1991). Group identity experience was evaluated by means of the Racial/Group Identity Scale of Helms (1993), and the Stress Scale of Van Gram (1981) was also applied. The statistical analyses were done by using the SAS-programme (SAS Institute, 2000). Cronbach alfa coefficients and inter-item correlations were used to determine the internal consistency of the measuring instruments. Exploratory factor analysis was used to establish the construct validity of the scales. Descriptive statistics were applied to analyse the data. Canonical correlation was utilised to analyse the relation between sets of variables. Stepwise multiple regression analysis was applied. Effect sizes rather than statistical inference were utilised to determine the significance of the findings. t-tests were also used. The results were presented in the form of four research articles. These results indicated that a diversity of values, attitudes, identity experiences and stress experiences are present among the two groupings of students. A discrepancy occurred more specifically regarding values as experienced by individuals (especially within group context) and regarding organisational values (Article 1). Within the white grouping, a value pattern came to the fore in which values such as honesty, dependability and respect were very important to the group. They also rated the values reasonableness and thankfulness high. A strong value pattern for the black grouping comes to the fore with values such as respect, honesty, dependability, thankfulness, politeness and hospitality. In both groupings uncertainty prevailed concerning the importance of value within the organisation such as mutual respect, honesty, religion and hospitality. These values will therefore predict how the individual in the group experiences his or her activities, relationship with others, nature and time. The bipolar attitude scale provides an account of how each grouping experiences its own as well as its external group (Article 2). In general, positive attitudes are present from the white grouping towards the black grouping (for instance kind-heartedness, goodness, pleasantness). However, cognitive growth is necessary in the white grouping concerning their perception of the dependability, wisdom, diligence and sense of responsibility of the black grouping. In the one field there seems to be an experience dimension in the white grouping with regard to attitudes, namely that the black grouping always turns up late. Within the black grouping, more negative-attitude tendencies occur towards the white grouping. Fields they find problematic are the dependability, fairness, honesty, helpfulness, sense of responsibility and peacemaking-attempts of the white grouping. The moderated attitudes of the white grouping toward themselves regarding being less ambitious and uncertain about their worth for the organisation, corresponds with how the black group experiences them. An assumption can be made that this attitude probably originates from the policy of affirmative action. Only three group identity phases manifested in the black grouping, while five group identity phases manifested in the white grouping (Article 3). The differences in the phases in the various groupings correspond with the impact of the South African political history on the identity moulding of the distinctive groupings. In the factor analysis, different factors from those in the theory of Helms (1993) were identified. In general, the white grouping is positive concerning their own identity - not shy of being white (90,63%) and feel at ease with other groupings (85%). These findings therefore indicate an established group identity that is developing positively. In the black grouping a positive to very positive tendency prevails that implies that they are experiencing positive identity-development growth. The uncertain vacuum of the black group identity has faded, and instead, internalisation and black self acceptance has crystallised. In both the groupings the impact that values, attitudes and identity experiences have on stress, was divided into the frequency of stress and the intensity of stress that the groups experience in different fields. Both groupings reported high stress frequencies on items such as frustration and anxiety, while the intensity of stress on dimensions such as anxiety substructure and boredom comes to the fore stronger in both groupings. The psychometric features of the measuring instruments were satisfactory. The construct validity of Helms' scale (1993) for the black grouping should be further investigated, seeing that the chronological development of identity moulding perhaps is embodied differently in South Africa with its unique history than elsewhere. Recommendations were made for future research.
Thesis (Ph.D. (Industrial Psychology))--North-West University, Potchefstroom Campus, 2004.

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Lee, Monika. "People Want To Know Who We Are: Contestations Over National Identity Through Film." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/917.

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A critical analysis of the film Remember the Titans, released in 2000, shows a preoccupation with nation and national identity through race and football. Set in 1971, it follows the desegregation and integration of a high school football team in Virginia. The film articulates a revisionist racial reconciliation reading of the Civil War based on white suffering and subsequent redemption. At its core it is a story about the progress of race relations and racism, framed as interpersonal relationships and segregation, in the United States.

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Beverly, Michele P. "Phenomenal Bodies: The Metaphysical Possibilities of Post-Black Film and Visual Culture." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/communication_diss/37.

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In recent years, film, art, new media, and music video works created by black makers have demonstrated an increasingly “post-black” impulse. The term “post-black” was originally coined in response to innovative practices and works created by a generation of black artists who were shaped by hip-hop culture and Afro-modernist thinking. I use the term as a theoretical tool to discuss what lies beyond the racial character of a work, image, or body. Using a post-black theoretical methodology I examine a range of works by black filmmakers Kathleen Collins Prettyman and Lee Daniels, visual artists Wangechi Mutu and Jean-Michel Basquiat, new media artist Nettrice Gaskins, and music video works of hip-hop artists and performer Erykah Badu. I discuss how black artists and filmmakers have moved through Darby English’s notion of “black representational space” as a sphere where bodies and works are beholden to specific historical and aesthetic expectations and limitations. I posit that black representational space has been challenged by what I describe as “metaphysical space” where bodies produce a new set of possibilities as procreative, fluid, liberated, and otherworldly forces. These bodies are neither positive nor negative; instead they occupy the in-between spaces between life and death, time and space, digital and analog, interiority and exteriority, vulnerability and empowerment. Post-black visual culture displays the capacities of black bodies as creative forces that shape how we see and experience visual culture. My methodology employs textual analysis of visual objects that articulate a post-black impulse, paying close attention to how these works compel viewers to see other dimensions of experience. In three chapters I draw from theoretical work in race and visuality, affect theory, phenomenology, and interiority from the likes of Charles Johnson, Frantz Fanon, Elena del Río, Sara Ahmed, Saidiya Hartman, and Elizabeth Alexander. This study aims to create an interdisciplinary analysis that charts new directions for exploring and re-imaging black bodies as subjects and objects of endless knowledge and creative potential.

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Lewis, Alanna. "The political and educational implications of gender, class and race in Hollywood film : holding out for a female hero." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21233.

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This thesis examines the articulations of gender, class, and race in a specific sample of films from the 1930's to the 1990's. The tendency in these films is to depict women as passive, rather than heroic. Because this has been the common practice, I chose to outline it through fourteen films that exemplified an inherent bias when dealing with women as subject matter. Brief summaries of several recently produced progressive films are provided to show that it is possible to improve the image of women in film, hence we may finally witness justice on the big screen.
In this discursive analysis, I trace specific themes from the feminist and film literature to provide a critical overview of the chosen films, with a view to establishing educational possibilities for the complex issues dealt with in this study.

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Lewis, Alanna. "The political and educational implications of gender, class and race in Hollywood film, holding out for a female hero." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape8/PQDD_0022/MQ50538.pdf.

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Gunckel, Colin. ""A theater worthy of our race" the exhibition and reception of Spanish language film in Los Angeles, 1911-1942 /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1997008061&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Burns-Watson, Roger Allen. "THE BIRTH OF A NATION AND THE DEATH OF A BOARD: RACE, POLITICS AND FILM CENSORSHIP IN OHIO, 1913-1921." University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin990809766.

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Bell, Travis R. "Documenting an Imperfect Past: Examining Tampa's Racial Integration through Community, Film, and Remembrance of Central Avenue." Scholar Commons, 2017. http://scholarcommons.usf.edu/etd/6999.

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This research examines the Civil Rights Movement in Tampa, Florida through documentary film to recognize an imperfect past and visually reconstruct Central Avenue as a physical and Thirdspace site of remembrance located at an intersection of race and community. Motivated by an ethnographic approach and through community engagement, Tampa Technique: Rise, Demise, and Remembrance of Central Avenue is a 54-minute film that explores Central Avenue’s rise to prominence through segregation, its physical and symbolic demise as a racialized site of communal space, and how it is remembered through collective and public memory in the location it once occupied. Documentary film provides an engaging platform to present research in a thoughtful and provocative way to recover lost histories that can inform audiences about structural and systematic inequalities that remain in overt and covert ways. The purpose of this written document supplements the film and takes issues of privilege, reflexivity, and subjectivity into account to interrogate tensions of “self” and “other” encountered during the film’s production and to translate how a visual representation of Central Avenue developed and unfolded as a present form of community participation and intervention through remembrance. The entire documentary is not available online due to copyright restrictions. However, a three-minute documentary trailer is available on Vimeo.

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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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Pyles, Tessa. "Confined: Motherhood in Twenty-First Century American Film." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1587303410049169.

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Hafström, Theo, and Maja Jonsson. "Svarta kroppar och vita blickar : En komparativ studie av samhällskritiken i filmerna Get Out och Play." Thesis, Uppsala universitet, Medier och kommunikation, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-448087.

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There is an ongoing debate in the media about whether or not caucasian filmmakers should be telling stories about racism and the black experience. This study aims to further the discussion by examining and comparing social criticism in the two feature-length films Play and Get Out, made by caucasian filmmaker Ruben Östlund and African American filmmaker Jordan Peele respectively. Using a multimodal critical discourse analysis grounded in Stuart Hall and Richard Dyer’s theories on representation and stereotyping, the study investigates what discourses regarding race and stereotypes are present in the films. The study shows that both films raise social criticism by references to the historical and contemporary racial discourse and depicting how the white characters act upon their racial prejudice. However, while Östlund attempts to have his audience reflect on their own behaviour and prejudices, the racist implications made by the white characters in Play, along with the black characters stereotypical manners, are often left unconfrontented and therefore reconstructs the racial order. Peele, however, manages to deconstruct the racial order through usage of more creative interdiscursive elements which highlight the importance of a shared black experience, exposing the privileged and racially charged actions of the white characters in Get Out and the vulnerable position of its black characters.

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Cochran, Shannon M. Phd. "Corporeal (isms): Race, Gender, and Corpulence Performativity in Visual and Narrative Cultures." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1281917081.

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Tobin, Erin C. "Campy Feminisms: The Feminist Camp Gaze in Independent Film." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1594039952349499.

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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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Hart, Hilary. "Sentimental spectacles : the sentimental novel, natural language, and early film performance /." view abstract or download file of text, 2004. http://wwwlib.umi.com/cr/uoregon/fullcit?p3120625.

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Thesis (Ph. D.)--University of Oregon, 2004.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 176-181). Also available for download via the World Wide Web; free to University of Oregon users.

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Marcus, Reker Katherine B. "“Why Can’t Run ‘Like a Girl’ Also Mean Win The Race?”: Commodity Feminism and Participatory Branding as Forms of Self-Therapy in the Neoliberal Advertising Space." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/759.

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This thesis proposes a critical study of the techniques and motives behind modern commodity feminist advertising, focusing on the appropriation of the “young girl” as a symbol of the feminist cause. This evolving trend in advertising, building upon new movements of empowerment and the recent proliferation of the online feminist space, is shifting the logics of consumption by marketing feminist ideology and activism through consumer purchasing power. By prompting consumers to believe that their purchases can make a significant change, companies are developing brand loyalty in their key marketing demographics by using the image and rhetoric of the “young girl” to tap into a term I call “anti-nostalgia,” a nostalgia whereby women leverage the inherent sentimentality of childhood with a constructive understanding and rejection of the destructively sexist climate they experienced to combat these sociocultural conditions for future generations. Joining theoretical research on branding, user-generated content, and the neoliberal ideology of the consumer-citizen, I argue that these advertising campaigns, coupled with online spaces for public interaction and participation, effectively create channels for their target consumers to contribute to this commodified form of activism. In reality, however, these “feminist” purchases are simply forms of consumer self-therapy in a modern political climate of systemic gender discrimination.

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Cerisuelo, Marc. "L'Instauration du cinéma : Poétique des films et interprétation : L'exemple des métafilms hollywoodiens." Paris 3, 1998. http://www.theses.fr/1998PA030188.

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La presente etude se propose d'illustrer les liens entre la poetique des films, l'histoire du cinema et la necessite d'une approche interpretative d'inspiration litteraire et philosophique. Une longue introduction presente la "discipline" en justifiant le recours au terme de poetique, et s'attache a demontrer - ou a rappeler - que le cinema n'est pas l'art de l'image. Une premiere partie definit la notion de metafilm, en la distinguant des autres productions consacrees au cinema et en proposant l'idee d'un genre ouvert. La seconde partie etudie le deploiement historique du genre a hollywood. La conclusion rappelle l'importance du mepris comme fil conducteur des etudes metafilmiques
The object of this study is to establish the relationships between poetics of film, film history and the claim of an interpretation based upon a literary background and a philosophical point of view. A "metafilm" is not just one more "movie-about-themovies". This study will attempt to show how, from show people to fedora, the hollywood tradition provides a real discourse of the film

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Perez, Sanchez Jose Maria. "Blancura Situacional e Imperio Español en su Historia, Cine y Literatura (s.XIX-XX)." UKnowledge, 2016. https://uknowledge.uky.edu/hisp_etds/26.

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This dissertation studies identity formation and race informed by the discipline Whiteness Studies. As such this dissertation conceptualizes Spanish Whiteness historically and analyzes its representation in Spanish narrative in prose and film. This research responds to two questions: 1) How has Spanish culture historically instrumentalized Blackness thus contributing to the creation of the Western’s conceptualization of Whiteness? 2) What does Spanish representation of Empire say about its Whiteness? In an effort to answer these questions, this study is divided into two parts that correspond to the conceptualization and representation of what are termed ‘Situational Whiteness’ and ‘Imperial Spanish Orientalism.’ I argue that both are the result of a Spanish differential exceptionalism based on Orientalist cultural practices of tactical assimilation, by means of which the Black experience is subsumed on the margins as a part of Spanish Whiteness. To prove this hypothesis, Spanish Whiteness is conceptualized for the purpose of exploring the strategies of tactical assimilation of the Spanish Orientalism (Hispanism, Arabism, Africanism, Hispanotropicalism) towards its former colonies in Latin America and Africa. In addition, the contrasting cases of instrumentalization of Blackness as resistance in José Martí and Fernando Ortiz’s notion of Cuban racial ‘counterpoint’ as well as and the racial ‘particularism’ of Joan Maragall and Blas Infante inform cultural notions of Spanish Whiteness as well as its fragmentation. In the second part of this dissertation, the analysis focuses on understudied cases of the Spanish Imperial Whiteness’s representation in relation to Equatorial Guinean and Afro-Cuban Blackness. The overall propose of this research is, on the one hand, to explain how the situational nature of Spanish Whiteness is present throughout foundational moments in diverse forms of Spanish Orientalism; and, on the other hand, to inform Whiteness Studies from a different cultural angle thus providing the discipline with a transnational bridge towards a better understanding of white processes of racial formation, historical strategies and cultural forms of structural domination.

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McKenna, Susan E. "Seeing Lesbian Queerly: Visibility, Community, and Audience in 1980s Northampton, Massachusetts." Amherst, Mass. : University of Massachusetts Amherst, 2009. http://scholarworks.umass.edu/open_access_dissertations/102/.

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Kolakoski, Mike. "The appeal to be heard and the trope of listening in classic film and African American literature." Thesis, The University of Arizona, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3590009.

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This dissertation analyzes the narrative use of sound, the rhetorical appeal to be heard and the trope of listening in African American literature as well as Hollywood and international cinema. Contributing to the burgeoning fields of film sound and listening studies, Chapter One explores the relationship between the first experiments with synchronous sound recording technology and the construction of subjectivity along the lines of ethnicity, religion and gender in early talkies such as Al Jolson's The Jazz Singer and Alfred Hitchcock's Blackmail. Chapter Two surveys a range of abolitionist texts and select essays from the Civil Rights movement—particularly David Walker's Appeal to the Coloured Citizens of the World, Frederick Douglass's first autobiography Narrative of the Life and his novella "The Heroic Slave," W. E. B. Du Bois's The Souls of Black Folk and Richard Wright's White Man, Listen!–in order to review the role of listening across racial divides in the United States. Chapter Three analyzes the multiple ways in which listening functions for narrative purposes in Wright's best-selling novel, Native Son; and Chapter Four addresses the trouble with listening in Wright's posthumous novel A Father's Law and Hitchcock's first color film, Rope.

Contributing to film studies, gender studies, and critical race theory, this thesis argues that the act of listening comes to function figuratively as a trope, signifying not only a means of recognition, interpellation and subjugation of an Other but also an instrument of justice; a matter of politics; a means of education; a potential remedy for alienation, while at the same time working as a tool of oppression; a formative act in familial and other social relations; a governing form of surveillance; an audial gaze, so to speak; a way to frighten, or more generally, evoke emotion; a part of the therapeutic process; an indication of trust or confidence; a manifestation of (sexual) desire; and, last but certainly not least, an age old form of entertainment forever transformed by sound technology of the industrial age.

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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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Hector, Audrey. "Four Square: A Short Animation based on The Struggles of Growing Up with a Bounded Racial Identity." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1106.

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For my thesis I discussed the struggles of growing up with a bounded racial identity through the medium of animation. Portraying through the personal stories I have endured, I explain to my viewers how often I struggled with my internal and external identities that either ignored or confronted the ignorance and racial mistreatment I faced growing up. The hope for my animation is to have viewers acknowledge the issue of the bounded racial identity and hopefully begin a dialogue that ignites change.

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Hart, Hilary 1969. "Sentimental spectacles : the sentimental novel, natural language, and early film performance." Thesis, University of Oregon, 2004. http://hdl.handle.net/1794/297.

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Advisor: Mary E. Wood. xii, 181 leaves : ill. ; 29 cm. Print copy also available for check out and consultation in the University of Oregon's library under the call number: PS374.S714 H37 2004.
The nineteenth-century American sentimental novel has only in the last twenty years received consideration from the academy as a legitimate literary tradition. During that time feminist scholars have argued that sentimental novels performed important cultural work and represent an important literary tradition. This dissertation contributes to the scholarship by placing the sentimental novel within a larger context of intellectual history as a tradition that draws upon theoretical sources and is a source itself for later cultural developments. In examining a variety of sentimental novels, I establish the moral sense philosophy as the theoretical basis of the sentimental novel's pathetic appeals and its theories of sociability and justice. The dissertation also addresses the aesthetic features of the sentimental novel and demonstrates again the tradition's connection to moral sense philosophy but within the context of the American elocution revolution. I look at natural language theory to render more legible the moments of emotional spectacle that are the signature of sentimental aesthetics. The second half of the dissertation demonstrates a connection between the sentimental novel and silent film. Both mediums rely on a common aesthetic storehouse for signifying emotions. The last two chapters of the dissertation compare silent film performance with emotional displays in the sentimental novel and in elocution and acting manuals. I also demonstrate that the films of D. W. Griffith, especially The Birth of a Nation, draw upon on the larger conventions of the sentimental novel.

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Dissertations / Theses on the topic 'Race in film'

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