Teses / dissertações: "Feature films – united states"

1

Ford, Conny (Conny M. ). "Differences in Marketing Mainstream and Independent Feature Films in the United States (1990-1995)". Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278064/.

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The purpose of this study is (1) to examine mainstream studio films and their marketing (2) to examine independent films and their marketing (3) to explore the marketing challenges of independent films (4) to explore new developments in independent film and the emergence of crossover films (5) to explore the benefits of alliances between the major studios and independent film distributors (6) to examine the diminishing differences between major studio films and independent films.

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2

Frykholm, Joel. "Framing the Feature Film : Multi-Reel Feature Film and American Film Culture in the 1910s". Doctoral thesis, Stockholm : Acta Universitatis Stockholmiensis : eddy.se [distributör], 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-29742.

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Borglin, John. "The Birth of Two Nations : En analys av ras och sexualitet i två filmatiseringar från 1915 och 2016". Thesis, Linnéuniversitetet, Institutionen för kulturvetenskaper (KV), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-85685.

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The following study aims, through a narratological and discourse analysis, to discuss and make visable, how two films, both named The Birth of a Nation, directed by G.W. Griffith and Nate Parker respectively depict violence and sexuality in relation to race. The theoretical framework, consists of postcolonialism, race, violence, masculinity and sexuality. However, the different parts of the theoretical framework are intertwined as race, sexuality and violence are interlinked and dependent on each other. These theories were chosen in accordance to the feature films’ narratives as well as their relation to each other. The results of this study were mainly in line with previously conducted research regarding the films. However the analysis of Nate Parker’s production provided a more neuanced perspective regarding the depiction of the interlinked expressions of sexuality and racial hegemony mainly from whites. Both films use similar style figures regarding the depiciton of violence, hegemony and sexuality even though the style figures serve to portray, in Parker’s film – the whites, and in Griffith’s film – the blacks, as perpertrators. Finally, the study raises new questions for research. I claim that a larger study, containing the collected canon of feature films from 1915 until today would make for an enriched and more complete picture of how black slaves are depicted in feature films as well as how these films reflect their contemporary times.

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4

Russell, Diane. "Du storyboard au storyboardeur : étude comparative d'une activité cinématographique en France et aux États-Unis". Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030067.

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Ce travail a pour point de départ une analyse quantitative de l’objet »storyboard » faite sur un large corpus. La taxinomie ainsi établie, croisée avec une approche qualitative, nous permet de mettre en lumière des codes de communication et des invariants inhérents à ce dispositif de pré-production. Cela aboutit, dans un premier temps, à la définition de l’outil storyboard parmi les autres dessins de préparation cinématographique. Le classement des données en fonction de leur période apporte ensuite une perspective nouvelle à l’analyse : c’est par l’objet, trace de sa propre histoire et vecteur de pensées, que se dessinent les interactions sociales et la professionnalisation de ceux qui le confectionnent. L’étude porte sur deux conceptions différentes de la pratique du storyboard, d’un côté et de l’autre de l’Atlantique
The starting point of this work involves a quantitative analysis of the object »storyboard » applied on a large corpus. The taxonomy here established, crossed witha qualitative approach, allows one to reveal communication codes and invariantsinherent to this preproduction device. This first leads to the definition of the toolstoryboard among other film preparation drawings. The classification of the dataaccording to its period then brings a new perspective to the analysis: it is through theobject, vestige of its own story and vector of ideas, from which are drawn the socialinteractions and the professionalization of those who manufacture it. The studyconcerns two different conceptions of the storyboarding practice, on both sides of theAtlantic Ocean

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Bhatia, Parul. "India Vaale in the United States". Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc935597/.

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This documentary reveals the thoughts and feelings of seven Indian students at the University of North Texas, Denton, Texas. It portrays that better material comforts in the U.S. condition the decision of Indian students in not returning to India even after the completion of their studies. It also shows their feelings of nostalgia for the social and cultural milieu of their home country, India. For this project 18 Indian students at the University of North Texas were interviewed and seven of them became part of the final documentary.

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Cavallero, Jonathan J. "Italian/American filmmakers in American motion pictures : the films of Capra, Scorsese, Savoca, Coppola, and Tarantino /". [Bloomington, Ind.] : Indiana University, 2007. 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:3301350.

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Thesis (Ph.D.)--Indiana University, Depts. of Communication and Culture and American Studies, 2007.
Title from dissertation home page (viewed Sept. 26, 2008). Source: Dissertation Abstracts International, Volume: 69-02, Section: A, page: 0413. Adviser: James Naremore.

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Roy, André 1963. "Une lecture politique de Star trek /". Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61800.

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Yeung, Yuk-ngan, e 楊玉顔. "Gender representation in films". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31953773.

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Zwarich, Jennifer. "Federal Films| Bureaucratic Activism and the U.S. Government Motion Picture Initiative, 1901-1941". Thesis, New York University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3635322.

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This dissertation describes the emergence and expansion of U.S. government motion picture work over the first four decades of the twentieth century. It situates the early history of federal filmmaking within the long progressive drive to reshape representative government into a more active proponent of the welfare of its citizenry and argues that despite reigning critiques to the contrary, institutional sponsorship actually gave social meaning and efficacy to this mode of social documentary. Indeed, I argue that U.S. government film production can be understood as a kind of social activism that was simultaneously propelled and limited by the contours of the federal bureaucracy. Envisioning government film work as “bureaucratic activism”—with all the power as well as the inefficiencies, entrenched rigidities, red tape, politics and establishment loyalties implied by the term “bureaucratic”—is useful here. It helps capture the contradictory nature of a pragmatic enterprise that actively and optimistically sought social change from within the confines of the status quo.

Federal films are examined in this history as spaces of complex negotiation— as points of contact between the structure(s) of the American democratic state and the imaginings of progressive bureaucrats about both their relationship to that state and its relationship to its citizens. Relying largely on original research in little-mined federal collections, I argue that the interpretations of social problems and solutions attempted in and by these film texts represent more than attempts to bolster institutional authority and reinforce the status quo (though, of course, they were such attempts). These aims were mediated by a will—evident both within the film texts and in the extemporaneous correspondence of their administrators and producers—to explain or justify such authority claims by literally and figuratively visualizing them as not arbitrary but rather in the interest of nurturing or protecting the common good. Federal films, seen in this way, don’t automatically obviate social change but instead represent attempts to relate social change to the ideal of democratic government. Viewed in the context of the specific change initiatives they were produced to aid, federal films were reflections of and on democratic governance itself.

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10

Dean, Adam T. "The Paradox of Creativity and Business in Feature Hollywood Filmmaking: The Relationship Between Motion Picture Production and Budgeting". Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4885/.

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This study examines the relationship between movie budgeting and the creative process in Hollywood filmmaking. To understand the effects of this relationship on the creative product, several films are analyzed within the production process where conflicts between the investors and creators are observed. A case study approach is guided by theories of the production of culture, which state that creative products manufactured in the cultural industry must be analyzed in relation to their surrounds society. Findings suggest previous indicators of box office success are becoming primary influences in the filmmaking process. The study also finds that financial standards in Hollywood potentially inhibit innovation among creative participants within a limited Hollywood creative sphere.

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Yau, Suk-ying Shirley, e 邱淑瑩. "Where has all the horror gone?: a study of horror in contemporary cinema". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B42575175.

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12

Mills, Pamela J. "Double vision : the dual roles of women on the homefront during World War II through the lens of government documentary films". Virtual Press, 1992. http://liblink.bsu.edu/uhtbin/catkey/834129.

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World War II was a time of great changes. Many aspects of American society underwent profound shifts but one predominant part of American culture did not change -- theaccepted roles of women. The government documentary films of World War II reveal attitudes, ideas, and assumptions which not only reinforced traditional roles but also reflected theresistance to gender-role alterations. Women during the war were not only shaped by such cultural messages but many subscribed to them wholeheartedly. The films emphasize twospecific images of women -- Susie Homemaker and Rosie the Riveter -- and also reflect society's image of women as homemakers first and war workers second. This double vision,reflected throughout the documentary films became the catalyst which maintained women in traditional roles and, in turn, rejected attempts to alter those roles in any significant way.This study uses the vehicle of World War II documentaryfilms, utilizing the World War II Historical Film Collection, Bracken Library, Ball State University (the largest collection outside the National Archives), the Office of War Information papers, and extensive secondary research, to investigate the images of women during the war years.
Department of History

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13

Anticoli, Rahel. "Cultural Adaptation of Cancer Campaign Films : A comparison made between beauty commercials; United States ofAmerica and India". Thesis, Högskolan Dalarna, Bildproduktion, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:du-27472.

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Uppsatsens syfte är att göra en filmanalys av kampanjfilmer om bröstcancer som var skapade av kosmetiska företag i Indien och U.S.A. I uppsatsen undersöks hur semiotiska resurser var påverkade av kulturen och hur kampanjerna har använt kulturell adaption i marknadsföringssyfte. Jag beskriver en denotation av två filmer från varje land följd utav en konnotation som stödjs av artiklar och böcker om respektive kultur. Avslutningsvis tar jag upp och diskuterar de olika teorierna om hur kulturell adaption kan påverka en människa ur ett marknadsföringsperspektiv. Slutsatsen är att nationalism och appropriation är några av de viktiga elementen i kulturell adaption som förstärker marknadsföring. Dessa element skapar självidentitet och förtrogenhet hos individen som tittar på filmen. Några semiotiska resurser som hade förändrats i kulturell adaption och som hälpte till att skapa de elementen var etnicitet, gester, kläder, miljö, och symboler.

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14

Trowell, Melody. "A test of the effects of linguistic stereotypes in children's animated film: A language attitude study". Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3605/.

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This study examined the claim that animated films influence childrens' opinions of accented-English. Two hundred and eighteen 3rd through 5th graders participated in a web-based survey. They listened to speakers with various accents: Mainstream US English (MUSE), African American Vernacular English (AAVE), French, British, and Arabic. Respondents judged speakers' personality traits (Work Ethic, Wealth, Attitude, Intelligence), assigned jobs/life positions, and provided personal information, movie watching habits, and exposure to foreign languages. Results indicate: (1) MUSE ranks higher and AAVE lower than other speakers, (2) jobs/life positions do not correlate with animated films, (3) movie watching habits correlate with AAVE, French, and British ratings, (4) foreign language exposure correlates with French, British, and Arabic ratings.

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Watkins, Fred P. "Independent Feature Filmmaking: the Historical Development of Current Methods". Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc500788/.

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The historical development of independent filmmaking has led to a situation in which an independent filmmaker must do two important things to achieve distribution and success. The filmmaker should continue study and mastery of the skills and methodologies needed in development, pre-production, production, post-production, and distribution. These skills and methods help the filmmaker to produce a quality film. The most important thing the filmmaker can do is to see that the film conforms to the Hollywood narrative standard. This standard is ingrained in a majority of the audience and deviation usually meets resistance. The standard not only includes story structure, but the use of name actors and some elements of physical action.

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Wong, Yee-ling, e 黃綺玲. "Cyborgs, capitalism, hope: a study of Hong Kong and Hollywood science fiction films". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hub.hku.hk/bib/B50900146.

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Posthuman representations in selected Hollywood and Hong Kong science fiction films show new interconnections in “techno-globalization.” They also exhibit a waning relationship between the “center” and the “margin” of technoculture. This study discusses the relation of technology, humanity, affect, and aesthetics in selective science fiction films produced from 1984 to 2010. The science fiction features were made in the United States and in Hong Kong. They include: The Terminator (1984), Terminator2 (1991), Terminator Salvation (2009), A.I. Artificial Intelligence (2002), I Love Maria (1988), Kung Fu Cyborg (2009) and Future X-Cops (2010). In particular, Kung Fu Cyborg merges the popular genre conventions of martial arts and technoculture, and manifests a different imagination at work wherein Hong Kong’s martial arts cinema stands in the place of a scientific-based Western technoculture absent in Hong Kong science fiction films. This study presents several key critical frames elaborated by scholars of science fiction who have assessed the recurrent themes and figures of science fiction films. The discussion of films identifies the resemblances, the differences, and the competitive dynamic between American science fiction films and Hong Kong action features. The absence of utopian or dystopian figures in posthuman filmic representations in Hong Kong cinema is considered an important difference from Western science fiction films. This thesis examines the figure of the cyborg and argues for the important place of emotions and the power to emote and hope as having a complex relationship to technology, humans and humanness. The compassionate cyborg has temporal and moral dimensions relating to belief and religion in this important genre. Thus, this thesis examines the backdrop for science fiction affect, which is one of oppression and crisis that speaks to the conditions of capitalism and modernity. The affective cyborgs make an important figure in the science fiction films that concern the crisis conditions, the appeal of technology, and the conventions of science fiction genre in commercial cinema.
published_or_final_version
Comparative Literature
Master
Master of Philosophy

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17

Davis, Blair. "The 1950s B-movie : the economics of cultural production". Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102798.

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The United States Supreme Court placed the major Hollywood studios in violation of antitrust laws in 1948, leading to the end of the classical Hollywood studio system of the 1930s and 1940s. Subsequent changes in the corporate organization and mode of production of the major studios signaled the end of the traditional B-movie as a product of block-booking policies.
B-movies became a distinctly different entity in the 1950s, however. From the institutional effects of the antitrust ruling, to changing audience demographics, the emergent patterns in production, distribution and exhibition had a profound effect on the evolution of the B-movie from its origins in the early 1930s to its new role in the cinematic marketplace of the 1950s. Increasingly the result of newly formed independent companies, B-movies innovated such industrial components as new genre cycles and demographic patterns.
This dissertation takes a political economy approach to examining the B-movie in the 1950s as an economic product, with a specific emphasis on independent filmmaking. The implication for film studies lies in answering questions about the unique nature of the B-movie filmmaking process: how is the mode of production of a B-movie different from that of mainstream Hollywood filmmaking? How does the low-budget nature of independent cinema determine its mode of production? How is a B-movie limited and/or defined by the low budget nature of its mode of production, and how does this affect the film's aesthetics? How do B-movies function in, and what is their value to, the film marketplace? Changes in film production, distribution and exhibition will be examined, as will patterns in film spectatorship in relation to the changing institutional landscape of the film industry in the 1950s.
The B-movie was a volatile entity during the 1950s, with both major and minor studios questioning the economic viability of low-budget production. B-movies existed in opposition to the cinematic mainstream in the 1950s, a legacy that was passed on to independent filmmakers of subsequent decades. Analyzing the mode of production of these B-movies is essential in understanding their aesthetics, as well as their historical role in the film industry.

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18

Johnson, William F. "Survey and Analysis of Local Forestry-Related Ordinances in the Northeast, Mid-West, and Western United States". Thesis, Virginia Tech, 2002. http://hdl.handle.net/10919/10151.

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In the United States, federal, state, and local forest policies affect many aspects of the forest industry. Regulations from all levels dictate how resource professionals manage the forest resources of the country. This study examines state and local regulatory relationships with a primary focus on local regulations in the Northeast, Mid-West, and western regions of the United States. A total of 388 local forestry ordinances were identified among the 35 states of the Northeast, Mid-West, and western regions of the United States. The Northeast contains the majority of local forest ordinances with 351. These ordinances are distributed among 8 states and many small local government types. The Mid-West currently embraces fewer local forest regulations with 16 ordinances across 4 states. In the West, 21 local forestry ordinances were found of which most are fostered by comprehensive forest practice acts. The primary objective of most local regulations in all regions is to regulate timber harvesting to some degree. The scope of the remaining local regulations; however, varied by region. The presence of local regulations has existed for over 30 years, and there are indications that they will have an even greater impact on forest management in the future. In addition, local regulations are steadily becoming more comprehensive in scope, which makes it difficult to determine their impacts. The cumulative impact of local regulation rests not only in the number of ordinances, but also in the area they govern, stringency of provisions, local resource conditions, and degree of enforcement.
Master of Science

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19

Loehrer, Gudrun. "Cinematic governmentality : a cultural history of tuberculosis and malaria health films in the United States of the 1940s". Thesis, University of East London, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.532919.

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Tsang, Wai-ho, e 曾煒豪. "Post-9/11 American gothic family in The hills have eyes duology and Twilight saga". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48395079.

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9/11 attacks open the 21st Century into the fear of the Other, which is coincidentally at the core of the Gothic tradition. In post-911 Gothic texts, the tension of Self and Other can be seen from the gothic family (representing homeland and country) and the gothic monster (representing foreign, dangerous intruder) respectively. This essay is a close study of two sets of Hollywood films dealing with such tension - Twilight saga and The Hills Have Eyes duology. It is argued, with Foucault’s notion of Power/Knowledge, that such Hollywood gothic productions further create and hence reinforce the fear of, but not suppress, the Other. The 21st Century Gothic genre is therefore no longer subversive, but appropriated to educate the unaware public.
published_or_final_version
Literary and Cultural Studies
Master
Master of Arts

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21

Begovich, Raymond S. "Planning and implementing writing coach programs at small newspapers". Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/861394.

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The purpose of this study was to identify and describe elements that may influence the effective planning and implementation of writing coach programs at small newspapers.Writing coaching at newspapers is becoming increasingly popular as a way to improve the writing abilities of reporters, to improve newsroom morale, to improve the relationship between reporters and editors, and to better serve newspaper readers. This study examined newspaper writing coach programs from an adult and continuing education program planning perspective.This study was qualitative, and was not intended to be generalized to any population. It was intended to provide information that may help the management and staff at small newspapers plan and implement writing coach programs effectively.Two techniques were used to obtain information: 1) telephone interviews with writing coaches, and 2) mini case study site visits to top editors at small newspapers.Ten writing coaches, located throughout the United States, were interviewed by telephone. The coaches selected for interviews were recommended by their peers as being among the most effective coaches in the country. Domain and taxonomic analyses were conducted of the interview transcripts. The study resulted in information relevant to eight areas related to planning and implementing newspaper writing coach programs: benefits, reasons, barriers, budgets, organizational climate, strengths and weaknesses, structure, and evaluation.Site visits were made to seven small newspapers. Before the visits, the top editors at the seven papers were sent a summary of the information gathered in the writing coach interviews. The editors were asked to react to the interview summary and to share their thoughts on planning and implementing writing coach programs at their newspapers. The site visits resulted in seven mini case studies, each containing a narrative section and a conclusions section.Following the interviews and site visits, a general model was recommended for planning and implementing effective writing coach programs at small newspapers. The Coaching Way of Life Model describes assumptions upon which a coaching program should be based, and describes the role of a coaching facilitator at a small newspaper.
Department of Educational Leadership

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22

Rosenfeld, Rachel F. "Confrontation Cinema in the Age of Neoliberalism; Where Brazil and the United States Meet". Scholarship @ Claremont, 2008. http://scholarship.claremont.edu/cmc_theses/222.

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Contents: Introduction; The Smell of Revolution and Popcorn; Filling the Gaps: Historical Context; Brazilian Cinema in the Age of Neoliberalism and Political Discourse of the New Brazilian Left; US Films and the Iraq War: This isn’t my America; Epilogue

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Wasson, Haidee. "Modern ideas about old films : the Museum of Modern Art's Film Library and film culture, 1935-39". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0025/NQ50280.pdf.

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Scheffler, Lisa K. (Lisa Kathryn). "A Study in Cultural Conflict: the Controversy Surrounding Martin Scorsese's The Last Temptation of Christ". Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278589/.

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When the filmed version of The Last Temptation of Christ was released in the United States, it met with significant protests from conservative Christians who felt it was blasphemous. Using the controversy surrounding the film and its reception in Austin, Texas, this is a case study in censorship as a social process and in the cultural conflict it signifies. Certain societal factors must converge to create an art controversy. Through an examination of the film, the groups involved in the protest, and the social and political climate at the time, some of these factors are described. Imbedded in this controversy are the underlying tensions that permeate many modern cultural debates: shifting ideas of the sacred and the profane and definitions of moral authority.

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Schnoor, Andrea. "Redefining masculinity : the image of civilian men in American home front documentaries, 1942-1945". Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1133730.

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Redefining Masculinity presents an analysis of the American government's portrayal of civilian men in World War II documentary films. The majority of the films, which serve as a primary source for this study, were created by the Office of War Information (OWI) as a means of stimulating home front support for the war. The government's portrayal of civilian men advocated a significant modification of gender roles. According to the OWI, men understood the politics of war, were aware of the national context of sacrifices, and were able to carry the government's message into American households and defense plants. As a result of their war consciousness, civilian men in government documentary films partially claimed the traditional domestic realm of women and redefined American gender roles as interactive and overlapping. The intersecting gender spheres in OWI films exemplify that men experienced manhood not in isolation from women. This propagandized image of civilian men during the Second World War supports the claims of scholars who criticize the ideology of "separate spheres" to describe socially constructed domains of the male and female gender. In contrast, the thesis findings show that the social, political, and economic definitions of male and female roles can be altered, extended, or adjusted when economically, politically, and culturally expedient.
Department of History

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26

Sterckx, Laurent S. S. "Systèmes de signification dans le cinéma classique hollywoodien: l'exemple de la comédie sophistiquée". Doctoral thesis, Universite Libre de Bruxelles, 1996. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212325.

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27

Khor, Denise. "Asian Americans at the movies race, labor, and migration in the Transpacific West, 1900-1945 /". Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3291752.

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Thesis (Ph. D.)--University of California, San Diego, 2008.
Title from first page of PDF file (viewed March 17, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 297-213).

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28

Eliopoulos, Mariamne. "Esthétique et intertextualité dans les films des frères Coen". Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030136.

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L’intertextualité filmique de l’oeuvre des frères Coen permet un recyclage des formules génériques et stylistiques qui font partie des traditions du cinéma. Les frères Coen empruntent des techniques et des thèmes tant au cinéma de l’époque des studios qu’à des écrivains du XXe siècle comme Raymond Chandler ou James Joyce. Une étude narratologique des procédes des frères Coen apportera une appréciation de leursinnovations dans la mise en scène. Leurs réécritures des schémas du passé donnent à ces films des ancrages dans la contemporanéité. Cette esthétique de réécriture sera analysée dans le contexte de l’histoire des idées et dans le contexte de la civilisation américaine contemporaine. Une mise en rapport avec des metteurs en scène de l’histoire du cinéma, comme Fritz Lang et Alfred Hitchcock, permettra d’évaluer les effets de leurs films sur le spectateur
Film intertextuality in the Coen brothers’ films allows generic formulas and styles to be reformulated, in a reworking of cinema traditions. The Coen brothers borrow techniques and themes from the era of the Hollywood studio system as well as those of writers of the twentieth century like Raymond Chandler or James Joyce. A study of thenarratology of the Coen brothers’ oeuvre allows readers to appreciate their innovations in film direction. Their rewriting of schemas of the past is analyzed in the context of the history of ideas and of contemporary American civilization. In comparing their work to that of other directors in the history of cinema, such as Fritz Lang and Alfred Hitchcock,the effects of intertextuality on the spectator will be evaluated

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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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Li, Tingting. "An Analysis of the 4:2:1 Documentary". Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc500078/.

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As a Chinese filmmaker, I feel obligated to reveal a true story about Chinese international students. Through my subjects and my stories, I am planning to express the messages that both adapting to a new culture and paying the financial cost of a foreign education have never been simple, but we will never give up our dreams.

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31

Schembri, Peter Mark. "The use of genre by the Hollywood film industry to standardize and regulate the manufacture, content, and consumption of genre film commodities : the commercial success of recombinant science fiction films in the United States marketplace 1977-1989". Thesis, Queensland University of Technology, 1996. https://eprints.qut.edu.au/36383/1/36383_Schembri_1991.pdf.

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In 1977, Star Wars opened in the United States to become a multimillion dollar blockbuster. Star Wars heralded the arrival of the recombinant science fiction-fantasy film. By the end of the 1980s, recombinant science fiction-fantasy films were the top grossing Hollywood manufactured films of the decade, with E.T., The Extra-Terrestrial (1982) becoming the highest grossing film in Hollywood's history. The use of genre by the Hollywood film industry during the 1980s ensured the continued popularity, and therefore financial success as measured by box-office receipts, of Hollywood recombinant science fiction films. This thesis argues that the Hollywood film industry during the 1980s, used genre as it operated through the Hollywood standard, to regulate and control the interrelationship between: the economic structures and practices of the Hollywood film industry; the content of recombinant science fiction genre films and generic cycles as expressed in Hollywood manufactured film texts; and the consumption by American audiences of these texts. The Hollywood standard is essentially a standardized industrial process. The standardized production/manufacturing conventions of the 1980s Hollywood standard, informed the manufacture of science fiction film commodities by studio executives and contracted creative personnel. The Hollywood standard also influenced the science fiction genre's product/content conventions and formulas. Although the science fiction genre was successfully recombined with the fantasy genre, each genre had its own content conventions and formulas. The manufacture, promotion, distribution, and exhibition of Hollywood manufactured recombinant science fiction films entailed relationships between a complex network of organizations. This thesis details four functions, each a stage of an industrial process operating in a consumer-orientated market economy. All four functions were present in the 1980s Hollywood film industry system: manufacture or creation; entrepreneurship and patronage; promotion and marketing; and consumption. These functions transformed a science fiction film from a conception to a commercial commodity. The Hollywood film industry used genre in an attempt to regulate and control each stage of the Hollywood film industry system. 1980s recombinant science fiction films, as commercial commodities manufactured through an industrial process, were cultural products subject to the supply and demand pressures of the American marketplace. The theoretical approach upon which this thesis is based is a synthesis of a number of social science perspectives. Each chapter of this thesis corresponds to a stage of the industrial process. The basic process of communication model is combined with semiotics in the performance model. The performance model acknowledges that the content of film texts are determined by studio executives and creative personnel who manufactured texts according to the Hollywood standard. During the 1980s, Hollywood film manufacturers were unable to predict, or predicted only to a limited extent, what manufactured genre film commodities would be successful in the marketplace. As a coping strategy, Hollywood film studios engaged in overproduction. Once the film commodity was selected for release in the American marketplace, it was subject to differential promotion, with greater financial resources being allocated to expensive science fiction films that were likely to be potential blockbusters. But every recombinant science fiction film was promoted. As a marketing strategy, genre recombinations could be used to develop a unique brand image for each manufactured film commodity so that it could be targeted at different segments of a mass market. A mass audience of American consumers in the 1980s were aggregates of unique individuals and groups of active consumers, making informed and conscious decisions in the marketplace. When individuals paid to see a recombinant science fiction film, they expected to obtain meanings and pleasure from it. Consumers often used genre as an important strategy to gather initial information about a film prior to viewing, and genre was often used as an strategy for evaluating the film after viewing. Using the concept of cultural forum, this thesis argues that Hollywood manufactured recombinant science fiction film texts 'commented' on ideological conflicts. Individuals and groups were capable of creating opposition readings, and could engage the Hollywood film industry at the level of personal actions; individuals were not being ideologically manipulated. It was upon consumer demand and expectations that the Hollywood film industry system during the 1980s was based. Since consumers in the 1980s were notoriously fickle in their selection of films, the Hollywood film industry used genre in an attempt to direct audience reception of film commodities in the marketplace.

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Monahan, William B., Alyssa Rosemartin, Katharine L. Gerst, Nicholas A. Fisichelli, Toby Ault, Mark D. Schwartz, John E. Gross e Jake F. Weltzin. "Climate change is advancing spring onset across the U.S. national park system". WILEY-BLACKWELL, 2016. http://hdl.handle.net/10150/622065.

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Many U.S. national parks are already at the extreme warm end of their historical temperature distributions. With rapidly warming conditions, park resource management will be enhanced by information on seasonality of climate that supports adjustments in the timing of activities such as treating invasive species, operating visitor facilities, and scheduling climate-related events (e.g., flower festivals and fall leaf-viewing). Seasonal changes in vegetation, such as pollen, seed, and fruit production, are important drivers of ecological processes in parks, and phenology has thus been identified as a key indicator for park monitoring. Phenology is also one of the most proximate biological responses to climate change. Here, we use estimates of start of spring based on climatically modeled dates of first leaf and first bloom derived from indicator plant species to evaluate the recent timing of spring onset (past 10-30 yr) in each U.S. natural resource park relative to its historical range of variability across the past 112 yr (1901-2012). Of the 276 high latitude to subtropical parks examined, spring is advancing in approximately three-quarters of parks (76%), and 53% of parks are experiencing "extreme" early springs that exceed 95% of historical conditions. Our results demonstrate how changes in climate seasonality are important for understanding ecological responses to climate change, and further how spatial variability in effects of climate change necessitates different approaches to management. We discuss how our results inform climate change adaptation challenges and opportunities facing parks, with implications for other protected areas, by exploring consequences for resource management and planning.

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33

Collins, Ryan William. "It's All Coming Back to You: 1980s Retro Film Culture and the Masculinity of Cult". Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011874/.

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The 1980s is a formative decade in American history. America sought to reestablish itself as a global power and to reassert the dominant ideology of white, patriarchal capitalism. Likewise, media producers in the 1980s sought to reassert the dominance of the white, male, muscled body in filmic representations. The identity politics of the 1980s and the depictions of the white, muscled body once prominent in the 1980s have been the site of conservative nostalgia for a young, male-dominated, cult audience that is a subset of a larger cultural trend known as retro film culture. This thesis provides historical context behind the populist 1980s B-action films from Cannon Group, Inc that celebrate violent masculinity in filmic representations with white, male action heroes. Equally important is the revival of VHS collecting and how this 1980s-inspired subculture reinforces white, patriarchal capitalism through the cult films they valorize and their capitalistic trading practices despite their claims of oppositionality against mainstream taste and Hollywood films. Lastly, this thesis reveals how a new cycle of contemporary films primarily produced outside of Hollywood reasserts and celebrates the dominance of the white, male, muscled body in filmic representations despite a postmodern and hyperconscious exterior. Overall, I argue how these areas of nostalgia are distinct, yet not unrelated, because they reassert white, patriarchal capitalism through the revival of conservative nostalgia for the 1980s.

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34

Lester, Carole N. 1946. "Tinstar and Redcoat: A Comparative Study of History, Literature and Motion Pictures Through the Dramatization of Violence in the Settlement of the Western Frontier Regions of the United States and Canada". Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc278931/.

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The Western settlement era is only one part of United States national history, but for many Americans it remains the most significant cultural influence. Conversely, the settlement of Canada's western territory is generally treated as a significant phase of national development, but not the defining phase. Because both nations view the frontier experience differently, they also have distinct perceptions of the role violence played in the settlement process, distinctions reflected in the historical record, literature, and films of each country. This study will look at the historical evidence and works of the imagination for both the American and Canadian frontier experience, focusing on the years between 1870 and 1930, and will examine the part that violence played in the development of each national character. The discussion will also illustrate the difference between the historical reality and the mythic version portrayed in popular literature and films by demonstrating the effects of the depiction of violence on the perception of American and Canadian history.

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35

Goshorn, John. "The Happiest Place on Earth - The Microbudget Model as a Means to an American National Cinema". Master's thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5224.

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The Happiest Place on Earth is a feature-length film written, directed, and produced by John Goshorn as part of the requirements for earning a Master of Fine Arts in Film & Digital Media from the University of Central Florida. The project aims to challenge existing conventions of the American fiction film on multiple levels - aesthetic, narrative, technical, and industrial - while dealing with a distinctly American subject and target audience. These challenges were both facilitated and necessitated by the limited resources available to the production team and the academic context of the production. This thesis is a record of the film, from concept to completion and preparation for delivery to an audience.
ID: 031001279; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Includes screenplay.; Error in paging: p. iv followed by 1 unnumbered page that is followed by p. ii-vi.; Title from PDF title page (viewed February 25, 2013).; Adviser: Ula Stockl.; Co-adviser: Andrew Gay.; Thesis (M.F.A.)--University of Central Florida, 2012.; Includes bibliographical references (p. 250).
M.F.A.
Masters
Visual Arts and Design
Arts and Humanities
Film; Entrepreneurial Digital Cinema

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36

Wright, Adam Michael. "Hauntology Man". Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157557/.

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Hauntology Man, a 48-minute documentary, follows former UNT Professor, Dr. Shaun Treat, as he leads a walking ghost tour of downtown Denton, Texas. As the expedition moves from storefront to storefront, each stop elicits a new tale. But, as Dr. Treat points out, the uncertainties of history are the real ghosts. That is, rather than simply presenting a "haunted history" of Denton, it's more accurate to say this movie's center resides at the precipice of a "haunting history." Not all ghost stories need spectres. Sometimes not knowing is ghost enough.

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37

Martin, Johnathan Paul. ""The Great Hanging"". Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc849655/.

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"The Great Hanging" is a documentary film that tells the story of the largest extra-legal mass hanging in U.S. History. This story is told through stage play recital of "October Mourning" written by historian and professor Dr. Pat Ledbetter. Using the stage play as a vehicle, the film showcases cinematic re-enactments based in the events in Gainesville, Texas during October 1862. These events show how a small community became overwhelmed by the fog of war and delved into madness as the Civil War crept closer and closer to their doorstep.

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38

Moore, Stan (Stan Clark). "Caddo Blues: The Making Of A Stunt". Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc500982/.

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Stuntwork became a science when stuntman and technician Yakima Canutt left the rodeo to work in Hollywood westerns. Canutt perfected methods and designed mechanisms that made dangerous stunts safer and visually exciting. Many of Canutt's techniques are still used today by modern stuntmen like Hal Needham, Ronnie Rondell, and Paul Baxley. Directed by stuntman Hal Needham and starring "box office draw" Burt Reynolds, Hooper presented the stuntman as a rugged, fun-loving, almost suicidal superman. For the first time in film's short history, the stuntman and his craft became a topic of wide public interest. The stuntman had become "glamorous" almost rivaling his actor counterpart.

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39

Lechler, Ron. "The Best Medicine". Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc801938/.

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The Best Medicine is an animated documentary that explores the true stories behind the live performances of stand-up comedians. The film juxtaposes live stand-up performances with candid interview footage combined with animation and illustration. Three subjects– Michael Burd, Casey Stoddard, and Jacob Kubon– discuss alcoholism, childhood abuse, and sexual anxiety, respectively. Their candid, intimate interviews reveal personal information, creating a new context with which to understand live stand-up comedy performance. This illustrates themes of finding humor in dark or painful circumstances and the cathartic nature writing and performance.

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40

Gómez, García Iván. "La deriva antiliberal en los EE.UU. vista por el cine jurídico contemporáneo (1930-2020)". Doctoral thesis, Universitat de Barcelona, 2021. http://hdl.handle.net/10803/672560.

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El cine jurídico ha sido una presencia constante en la historia del cine estadounidense desde sus orígenes. Este género fílmico elabora respuestas desde el terreno cultural a los riesgos y amenazas a los que se ha enfrentado la democracia estadounidense, y apela a ciertos principios fundacionales de la república como antídoto frente a los ataques llevados a cabo por diferentes operadores públicos y privados al sistema de derechos y libertades del país. El desarrollo, evolución y cambios de ese cine jurídico se han visto muy marcados por el contexto sociopolítico y han obedecido a diferentes factores de orden histórico, ideológico e industrial. El presente texto supone un intento por construir una historia cultural de ese cine jurídico a través del análisis detallado de una serie de películas esenciales del género y de los debates jurídicos y políticos allí planteados, que suponen la elaboración de un diagnóstico sobre la deriva antiliberal sufrida por la democracia estadounidense tras las grandes luchas por los derechos civiles de los años sesenta.
El cinema jurídic ha estat una presència constant a la història del cinema nord-americà des dels seus orígens. Aquest gènere fílmic construeix respostes des del terreny cultural als riscos i amenaces als que ha fet front la democràcia dels Estats Units, i apel·la a certs principis fundacionals de la república com antídot enfront dels atacs duts a terme per diferents operadors públics i privats al sistema de drets i llibertats del país. El desenvolupament, evolució i canvis d’aquest cinema jurídic s’han vist molt marcats pel context sociopolític i han obeït a diferents factors d’ordre històric, ideològic i industrial. Aquest text suposa un intent de construir una història cultural d’aquest cinema jurídic a través de l’anàlisi detallada d’una sèrie de pel·lícules essencials del gènere i dels debats jurídics i polítics allà plantejats, que suposen l’elaboració d’un diagnòstic sobre la deriva antiliberal patida per la democràcia als Estats Units després de les grans lluites pels drets civils dels anys seixanta.
Trial films have been a constant presence in the history of American cinema since its origins. This film genre elaborates cultural responses to the risks and threats that American democracy has faced, and appeals to certain founding principles of the republic as an antidote to the attacks carried out by different public and private operators on the country’s system of rights and freedoms. The development, evolution and changes of this genre have been very marked by the sociopolitical context and have been due to different factors of a historical, ideological and industrial nature. This text is an attempt to build a cultural history of trial films through the detailed analysis of essential films of the genre and the legal and political debates raised there, which involve the elaboration of a diagnosis on the illiberal drift suffered for American democracy after the great civil rights struggles of the 1960s.

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41

Grant, Michael E. (Michael Edward). "China Run". Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500963/.

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China Run is a 92 1/2 minute documentary film which portrays an ultramarathon runner's record-setting 2,125 mile run across China in 53 days, starting at the Great Wall north of Beijing and concluding in Guangjhou (Canton). It is a story of the difficulties, both physical and emotional, suffered by the runner, as well as the story of his encounters with the people of China.

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42

Martin, Johnathan Paul. "The Great Hanging". Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849655/.

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"The Great Hanging" is a documentary film that tells the story of the largest extra-legal mass hanging in U.S. History. This story is told through stage play recital of "October Mourning" written by historian and professor Dr. Pat Ledbetter. Using the stage play as a vehicle, the film showcases cinematic re-enactments based in the events in Gainesville, Texas during October 1862. These events show how a small community became overwhelmed by the fog of war and delved into madness as the Civil War crept closer and closer to their doorstep.

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43

Teichner, Noah. "Le “canned” vaudeville et la mise en conserve médiatique aux États-Unis, du phonographe au film sonore : étude média-archéologique des courts métrages Vitaphone au format son-sur-disque (1926-1930)". Electronic Thesis or Diss., Paris 8, 2021. http://www.theses.fr/2021PA080071.

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L’expression historique “canned” vaudeville désigne la « mise en conserve » du vaudeville américain (un spectacle de variétés dépendant de numéros diversifiés) par des moyens filmiques ou phonographiques. En croisant l’analyse des discours et l’analyse technique et formelle, cette thèse propose une archéologie de la mise en conserve médiatique à partir du vaudeville filmique et du vaudeville phonographique. Les courts métrages Vitaphone de la Warner Bros. au format son-sur-disque occupent une place centrale dans l’articulation de cette problématique sur une période allant des débuts de la phonographie et de l’institutionnalisation du vaudeville à la fin du 19ème siècle jusqu’à la généralisation de la technologie électro-acoustique dans le cinéma et les médias sonores dans la seconde moitié des années 1920. Suite à l’investigation du vaudeville sous le double angle de média de masse et de médium sensible, la place négligée du terme “canned” dans l’histoire des médias est revisitée à partir du cas de la phonographie acoustique et des discours corporatifs sur la “canned” music et le “canned” vaudeville. Il est ensuite question du contexte intermédiatique du vaudeville filmique à la généralisation du parlant et de la production, distribution et réception des courts métrages Vitaphone. Une analyse des possibilités matérielles du procédé son-sur-disque et de la mise en œuvre de son dispositif multi-caméra permet de mener une étude approfondie des stratégies d’adresse et de diégétisation dans les courts métrages restaurés de 1926-1930 et de les mettre en perspective pour la première fois avec des pratiques du vaudeville phonographique remontant au tournant du 20ème siècle
This dissertation reads the discourses, practices, and materialities of filmic and phonographic vaudeville through the broader history of “canned” media. Warner Bros.’ short films produced with the sound-on-disc Vitaphone process play a central role in this study which covers a period ranging from the beginnings of the phonograph industry and the institutionalization of vaudeville in the late 19th century to the introduction of electroacoustic technology in film and sound media during the second half of the 1920s. After studying vaudeville’s infrastructure as a mass media institution and its aesthetic capacities as a medium, the neglected role of the term “canned” in media history is reconsidered through practices of early phonography and trade press discourses on “canned” music and “canned” vaudeville. This leads to a contextualization of filmic vaudeville within the media landscape of the 1920s—the decline of big-time vaudeville and the rise of stage presentations in movie theatres—and an analysis of Vitaphone shorts’ production, distribution, and reception. The material possibilities afforded by the Vitaphone sound-on-disc technology and multi-camera set-up are then outlined and examined in relation to debates regarding sound and image scale. These technical considerations lay the groundwork for an in-depth investigation of approaches to address and diegetisation in the restored Vitaphone shorts from 1926-1930. The films’ means of addressing the spectator and of representing both the audience and the space of performance are put in perspective through examples of phonographic vaudeville dating back to the turn of the 20th century

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44

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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45

Kulbaga, Theresa A. "Trans/national subjects genre, gender, and geopolitics in contemporary American autobiography /". Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1150386546.

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46

Wellborn, Brecken. "Musicals and the Margins: African-Americans, Women, and Queerness in the 21st Century American Musical". Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404583/.

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This thesis provides an overview of the various ways in which select marginalized identities are represented within the twenty-first century American musical film. The first intention of this thesis is to identify, define, and organize the different subgenres that appear within the twenty-first century iterations of the musical film. The second, and principal, intention of this thesis is to explore contemporary representations of African-Americans, women, and queerness throughout the defined subgenres. Within this thesis, key films are analyzed from within each subgenre to understand these textual representations.

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47

Wellborn, Brecken. "Musicals and the Margins: African-Americans, Women, and Queerness in the Twenty-First Century American Musical". Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc1404583/.

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This thesis provides an overview of the various ways in which select marginalized identities are represented within the twenty-first century American musical film. The first intention of this thesis is to identify, define, and organize the different subgenres that appear within the twenty-first century iterations of the musical film. The second, and principal, intention of this thesis is to explore contemporary representations of African-Americans, women, and queerness throughout the defined subgenres. Within this thesis, key films are analyzed from within each subgenre to understand these textual representations.

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48

Puente, Henry. "The promotion of U.S. Latino films". Thesis, 2004. http://hdl.handle.net/2152/1296.

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Knightly, Patrick J. "Politics and the popular culture : an examination of the relationship between politics and film and music". 1999. https://scholarworks.umass.edu/theses/2551.

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50

Hudson, Dale M. "Border crossings and multicultural whiteness: Nationalism in the global production and United States reception of vampire films". 2004. https://scholarworks.umass.edu/dissertations/AAI3136738.

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Border Crossings and Multicultural Whiteness analyzes the interplay of cinema and nation in audience responses to vampire films. Since audiences accept nationality, race, and ethnicity as “natural” terms for social differentiation, I examine them in tandem with an exaggerated term for social differentiation that calls attention to its ideological constructivity: vampire. Vampire-film narratives involve border crossings, posing; questions about immigration, cultural assimilation, and foreign intervention that produce notions of nation, race, and ethnicity. I question why audiences devalue vampire films, particularly ones challenging the “transparency” of eurocentrism, multiculturalism, and whiteness, to suggest that inequalities within film narratives reflect industrial inequalities with global film circulation. Vampire-hunters assassinate in foreign rulers, yet vampires are forbidden to immigrate; Hollywood dominates foreign markets, yet foreign films are often denied entry into US markets. I propose the concept of multicultural whiteness, linking problematic discourses of inclusion and exclusion, to suggest an internalization of Hollywood narrative conventions, cinematic styles, and production values as an expression of US nationalism. Audiences evaluate vampire films according to criteria of performing whiteness while constructing “America” as an a historical “nation of immigrants.” Chapters 1 and 2 investigate ethnocentrism and nationalism imbedded in vampirism against alternative primordialist and constructivist theories of nation, relating them to the evaluative criteria within vampire-film canons. Chapter 3 analyzes ambiguous representations of nationality for international audiences in Hammer Films (UK) productions since the late 1950s. Chapter 4 suggests that dubbing, reediting, and peripheral exhibition venues reduce parodies of eurocentrism in Mexican, Filipino, Japanese, and South Asian films to depoliticized touristic spectacle during 1960s–1970s. Chapter 5 examines “vampires of color” in post-1975 Hollywood as sites for debates and negotiation over miscegenation and assimilation. Chapter 6 explores multiculturalism's deflation of tensions between Chinese transnationalism (one China) and Hong Kong's hybrid identity (Chinese-British) in 1980s Hong Kong films. Chapters 7 and 8 question the purported de-centering of multinational financing in art and blockbuster films and interrogate the unequal benefits of globalization I conclude by discussing fan fiction, video distribution and reception via the Internet, contending that copyright law is selectively enforced according to national hierarchies within the global marketplace.

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