This written thesis accompanies a 32-minute documentary video, Journey for Jazz, which explores four Korean students who major in jazz at the University of North Texas in Denton. Detailed accounts of the pre-production, production, and post-production of the video guide the reader to understand the challenging and rewarding process of making this documentary. Theoretical issues are also discussed, including Bill Nichols's typology of documentary modes as a useful tool for analysis of hybrid documentaries and conventions of the observational and interactive mode in Journey for Jazz, which is considered a hybrid of both modes. The film focuses mainly on the scholarly and artistic experiences that the four students undergo while studying jazz in the United States.
Miss Kathy is a documentary film that tells the story of Kathy Griffin-Grinan, a lead recovery coach for prostitution and human trafficking with the Harris County Sheriff’s Office. Her non-profit organization —We’ve Been There, Done That – works in conjunction with law-enforcement to offer the survivors of prostitution a chance at rehabilitation. With endless enthusiasm, she mentors survivors as they struggle to escape a destructive lifestyle. This film also explores the relationship between human trafficking and prostitution, while addressing issues of victimization and exploitation.
This study sought to determine if and how television texts produced since September 11, 2001, reflect and address cultural concerns by analyzing patterns in their theme and narrative style. Three American television serials were examined as case studies. Each text addressed a common cluster of contemporary issues such as trauma, death, and loss.
As ownership of Hong Kong changed hands from the United Kingdom to the People's Republic of China in 1997, citizens and filmmakers of the city became highly aware of the political environment. Film director Wong Kar-Wai creates visually stimulating films that express the anxieties and frustrations of the citizens of Hong Kong during this period. This study provides a political reading of Days of Being Wild (1991), In the Mood for Love (2000), and 2046 (2004) through analyzing various story elements and details within the mise-en-scene. Story elements include setting, dialogue, character relationships, character identities, thematic motifs, musical references, numerology, and genre manipulation. Wong also uses details within the films' mise-en-scene, such as props and color, to express political frustrations. To provide color interpretations, various traditional aesthetic guidelines, such as those prescribed by Taoism, Cantonese and Beijing opera, and feng shui, are used to read the films' negative comments on the handover process and the governments involved. When studied together the three films illustrate how Wong Kar-Wai creates narrative and visual references to the time and atmosphere in which he works, namely pre-and-post handover Hong Kong.
Sculptor Eric McGehearty incorporates dyslexia, a learning disability, into his artwork to express his challenges with his limited ability to recognize and understand the written word. The film Access Denied focuses on Eric and his disability. Recognized in 1896, dyslexia has been studied and researched by scientists and educators. New assistive technology is now available to aid dyslexics in reading and writing. Specialized schools provide techniques to improve student learning. However, some options are not readily available to the general public; therefore, information about how to deal with the disability is not easily accessed. The aims of this documentary are to raise awareness of available resources to assist with learning as well as to demonstrate a relationship between art and dyslexia.
This project utilizes a case study approach to explore the various ways in which the portrayals of gay people have changed on American television. Three contemporary programs - Will & Grace, Queer Eye for the Straight Guy and The L Word - are examined as examples of how far American television has progressed in terms of treating gay people with respect. Whether those shows move beyond merely presenting gay characters and into a level of actively challenging mainstream views on gay people is also examined. Findings suggest different factors affect the ability of the individual programs to test said views - including the genres to which each belongs, and their presence on network television (Will & Grace), basic cable (Queer Eye for the Straight Guy) or premium cable (The L Word). While all three programs show some tendencies toward queerness, they also take steps toward negotiating with mainstream culture, indicating that complete queerness may be an unattainable goal on American television.
Singers and songwriters come to Nashville, Tennessee because they consider it the center of the country music universe and the best place to perform their songs as they try and break into the music business. Though few ever experience success in this competitive field, artists continue to arrive in Nashville and many don't have the commercial potential that would allow them the opportunity to perform anywhere but on the city's streets. The film, Street Chords and the Truth: A Street Level View of Country Music, focuses on these interesting performers and their music. Country music has been examined by a handful of ethnomusicologists and is often called the music of everyday life. Many recognize its dependence on ordinary singing styles, common phrasings, southern accents and traditional costuming as central to its identity and critical source of its value as a commodity. While many studies have been conducted focusing commercially popular country music singers and the music industry, few studies been conducted on singers who meet all the critical criteria for country music except commercial viability. This documentary examines country music more as a critical element of cultural identity and less as a commodity.
This written thesis is a companion to a 30-minute documentary video of the same title. The documentary is a presentation of the historical conflict between the United States Navy and the people of the island of Vieques, Puerto Rico. For over 60 years the island was used by the United States Navy as a military training facility. The documentary attempts to present an analysis of the struggle between citizens of the island and the Navy. This written component presents a summarized history of Puerto Rico, Vieques and the conflict with the United States Navy. In addition, the preproduction, production and post-production process of the documentary are discussed. A theoretical analysis of the filmmaker's approach and technique are addressed and analyzed as well. The thesis's goal is to provide a clear understanding of the Vieques conflict to United States audiences who do not a familiarity with the topic. The thesis is presented from the perspective of a person who grew up in Puerto Rico.
Touchscreen technology is on the rise as the new standard in smartphone design. But, the usability of touchscreen is hindered for consumers that lack the physical ability to navigate such devices. Two focus groups were conducted in order to identify specific uses and gratifications that people with visual impairments had when using mobile phones. Additional questions were presented to the participants to determine if touchscreen technology limited access to communication and entertainment. The responses revealed an upward trend in touchscreen smartphone adoption among the participants. These users chose to adopt touchscreen smartphones that had built-in and downloadable assistive features which contributed to user-friendly designs.
Classless: On Being Middle Class in America is a documentary film that explores what it means to be middle class in America. The film combines personal narrative, folksy reporting, and comedy as the film's director— Joe Brown, tries to reconcile his own status anxiety with everyday understandings of social class. Classless takes the form of a journey; the film travels through the American South, Northeast, and the Mountain West while trying to get at the heart of our middle class American Dream. Classless forwards three main arguments: (1) the American middle class is not as all-encompassing as seems; (2) Americans are more concerned about inequality than both politicians and the media suggest; and (3) many Americans are not actually middle class, economically speaking.
This thesis is an examination of "paranoid conspiracy" films, a film noir subgenre that emerged in mainstream American cinema in the early 1970s and turns on vast, shadowy conspiracies located within U.S. "power structures" (government agencies, the military, the media) and directed against the American public. Specifically, it focuses on the emergence of these films in the 1970s, their almost complete disappearance during the Reagan presidency, and subsequent reemergence in the early 1990s. Placing representative texts in the context of U.S. political and social reality of the last three decades, it analyzes the relationship between the conspiracy theory genre, the "crisis of confidence" in the American society, and the process of formation of American national identity.
This thesis explores the stereotypes of Texans portrayed in American entertainment media, and attempts to identify the reasons for both the existence, and persistence of these images. The study includes a brief history of Texas, and background information on the formulation of stereotypes. Cultivation theory is used to explain the process of stereotypes formed through television viewing. Content analysis of the responses from an on line survey involving 52 participants revealed that people outside the state of Texas have strong perceptions about Texans that are consistent with media representations. As the level of television viewership increased, so did the indelibility of the impressions. Those who watch more television were more likely to perceive the image of Texans as negative, and less likely to change their opinions of Texans after visiting the state.
Women have fought for their rights to equal opportunity employment for more than a millennium. Even now, in the 21st century the fight continues. Women at Work explores the experiences of three women who work in male-dominated blue-collar jobs and discuses their struggles and successes within their employment. Their career choices have required each to address their individual views on feminism and femininity, as well as views on education and family.
The purpose of this thesis is to explore the importance of the orphan hero in film and his resonance with the American people. It explores the orphan and the American identities, the archetypes found in myths, and the hero in American culture. The three heroes (Batman, Anakin Skywalker, and Harry Potter) represent certain aspects of orphan heroes: the capacity for sacrifice and the need to resist focusing on oneself. The type of hero each becomes has its source in the response he takes to his orphanhood. These young men suffered great loss early in their lives, but found the strength to sacrifice themselves for others, the ultimate sign of a hero.
This project is an examination of the Hong Kong film industry, focusing on the years leading up to the handover of Hong Kong to communist China. The influence of classical Chinese culture on gender representation in martial arts films is examined in order to formulate an understanding of how these films use gender issues to negotiate a sense of cultural identity in the face of unprecedented political change. In particular, the films of Hong Kong action stars Michelle Yeoh and Brigitte Lin are studied within a feminist and cultural studies framework for indications of identity formation through the highlighting of gender issues.
The Acres Homes Transit Company in Houston, Texas is Texas' first African American owned and operated bus company. Some say it is the first in the South. The company was developed during the height of the civil rights period. It serves as an establishment of economic empowerment during the oppressive civil rights era. The video is a historical visual documentation of the bus company from its beginning to its end. An accompanying written profile describes the research process, the pre-production, production and post-production stages, as well as future proposals for the documentary.
The thesis examines the relationship between Martha Stewart's rendition of domesticity and a broader cultural trend of the late 1990s U.S. domestic retreatism. It argues that the mode of construction and representation of the "domestic dream" in Stewart's programs cannot be examined outside of such concepts as class and ethnicity, whose understanding depends on the cultural, social, and political context of a given era, a context, in which they become transparent as aspects of the Western (white, patriarchal) status quo. Performing a deconstructive reading of these categories as employed by Stewart in the process of creation of her media persona, the thesis examines what the negative as well as positive reactions to "Martha Stewart" convey about the condition of American society of the late 1990s and early 2000s.
The children's television program Teletubbies and its concomitant controversies are analyzed along with the media attention surrounding the program. A textual analysis is presented, including the methodologies of narrative theory, semiotics/structuralism, and poststructuralism. The context is also analyzed, using a cultural studies and historical reception approach, in order to chronicle and analyze the show's controversies and elucidate how these arguments have affected reception and interpretation of the show. Following textual and contextual analysis, a social science approach is utilized, reviewing literature and research that supports or refutes the arguments at hand. Finally, the results of a qualitative, ethnographical study are presented in order to include the child's perspectives on the show and inform the larger, cultural issues of childhood.
This textual record of the making of the social issue documentary film A Native American Dream examines theoretical and practical considerations of the filmmaker during the pre-production, production, and post-production stages. It also examines the disciplines of anthropology and ethnography in terms of modern documentary filmmaking and evaluates the film within these contexts.
Out of Order is a documentary film that explores the emotional and physical aspects of living with polycystic ovarian syndrome. This reproductive disorder affects between 5 and 10% of all women of reproductive age. This film features an animated, autobiographical look at director Kimberly Davis' personal experience with this condition.
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.
Graciously We Receive is an ethnographic documentary film about Hearts for Homes, a volunteer Christian outreach organization that does no-cost home repairs for low income elderly homeowners. Graciously We Receive examines the symbiotic relationships between volunteers and the homeowners, addressing the need to be needed by meeting the needs of others. Using qualitative research methods derived from the social sciences, Graciously We Receive represents an advancement in media-based research methods. with the introduction of quick cine-ethnography, which combines quick ethnography methods and grounded theory for data acquisition and analysis, Graciously We Receive applies anthropological research methods to documentary film production.
Recent political developments in the world show us that different cultures need to know and understand each other better. Even though technological developments like the Internet, satellites, cable television and conglomeration of big media entities have made mass communication more effective and faster, we cannot easily say that these developments help to bring world cultures together. As a result, mass audiences are not very much able to see what few productions do speak to these issues in a constructive manner. The main aim of this documentary film project is to serve as a small step towards helping different cultures to understand each other better. This documentary film conveys the basics of Mevlevism by following the formal gatherings of a Mevlevi den in Istanbul, Turkey. A den or tekke is a place where Islamic people gather and perform their religious activities. During these gatherings they do the sema, they pray, they listen to music, and they discuss spiritual matters. Sema is the entire ritual they perform as part of their ceremonies including listening to music, singing and chanting to attain a state of religious emotion and ecstasy or vecd. The documentary film is structured around a twelve year old girl, Elif, who is learning the basics of Mevlevism. The interviews conducted with regulars from the den explain to the audience why people are attracted to this belief system. Filming the ceremonies at the 550-year-old Mevlevi temple in Galata, Istanbul accentuates the historic background of this belief system. The Night of Reunion is the day in which Mevlevis celebrate the passing of Mevlana Celaleddin Rumi, the founder of Mevlevism and provides the climax of the film. Elif performs on that night, a very important moment in her spiritual life.
This written thesis accompanies a sixteen-minute documentary video, Harbor, in which the filmmaker explores her relationship with her father who has suffered a stroke. Detailed accounts of the pre-production, production and post-production of the video allow the reader to understand the challenging and rewarding process of making an autobiographical documentary. Theoretical issues are also discussed, including the validity, criticisms, artistic nature and ethical concerns of autobiographical filmmaking. The filmmaker stresses the universality of her story, and how, despite the film's very personal nature, it is applicable for anyone who has dealt with the illness and/or disability of a parent.
This study seeks to use a dual-theoretical approach, through the use of para-social relationship theory and economic data analysis, to explain the success of reality television since the early 2000s. This study uses both qualitative and quantitative components to understand the growth of reality television. This study includes a literature analysis of both methodologies used. Focus groups were used to seek to find a strong level of para-social interaction in viewers of reality television. Two focus groups were conducted with participants 18-35. There were a total of 16 participants who attended the focus group sessions. The information collected suggested that viewers of reality television formed para-social relationships. It appeared that female viewers were more likely to form para-social relationships than male viewers.
This thesis examines the aesthetic of ballets adapted for BBC Television by producer Margaret Dale, beginning with her entrance to the BBC's training program in 1955 and culminating with her commissioned work Houseparty, which aired in 1964. A historical and organizational framework is discussed regarding the BBC's cultural mission and view of arts programming, as well as general developmental milestones in programming contextualizing Dale's working conditions. Particular focus is placed upon the appropriation of Romantic narrative ballets and their significance in reinforcing an aristocratic and culturally divisive structure in the arts. Textual analyses consider issues of restaging, camera placement, and lighting, as well as television's intimacy and relationship to characterization in ballet narratives.
Mama D's 2 Blocks tells the story of a neighborhood home in New Orleans that was transformed into a distribution center and used to assist residents impacted by Hurricane Katrina's devastation in 2005. Mama D stayed at her home throughout the storm and remained there until the floodwaters had subsided. After the water had drained, socially minded youth from all over the country were drawn to Mama D's home and stayed there while supporting local renewal efforts. The film documents their joining together, without electricity or running water, and assisting in the rebuilding process undertaken by Mama D and other neighborhood residents. This film captures a community in action, how it survived, and the first steps taken towards the rebuilding of New Orleans.
Behind the Scenes of The Steve Taylor Story: A Documentary is the written companion to a 39-minute documentary film entitled, The Steve Taylor Story. The film explores the controversial career of Christian musician Steve Taylor. It also chronicles the ideology of the Christian subculture in America through the hegemony of the dominant Christian culture and Steve's actions in opposition to it.
This thesis discusses the relatively new approach of art education, by paralleling it to Marxist ideology on art. The Dallas Arts District is one example of a city where museum art education is in conflict: being adopted more vigorously by some and with less acceptance by others. In order to provide a glimpse into the museum ideology of downtown Dallas, previous schools of thought regarding the role of curators and the introduction of educators into museums will be detailed, as well as conflicts between these two factions. The following questions will be addressed: Is museum art education truly a movement which strives to infuse the American culture with a greater appreciation of art? Is there a link to overcoming Marx's key issue of class? How is the movement affecting the Dallas Arts District and to what extent is museum art education being utilized within this forum? Is the emphasis toward museum art education greater in Dallas than in other large cities across the United States, and if so, how has that affected the cities' patrons?
The HOAX is an examination of abusive power and lack of regulation in the homeowners' association industry; a business and quasi-government system whose key selling point is the protection of property values. The documentary follows an investigative reporter, homeowners, and HOA reform activists as they illustrate shocking evidence of financial and psychological hardships throughout Texas and Nevada. A few of these people, including the filmmaker, are the subject of adverse actions from various players in this quasi-governmental system.
On three days in March each year, the sleepy little town of Sweetwater, Texas transforms into the rattlesnake capital of the world. Snake hunters and curious tourists converge on the town of 12,000 for the Annual Sweetwater Rattlesnake Roundup. On the outside of the Nolan County Coliseum, the smell of funnel cakes and hot-dogs fills the air as vendors sell snacks and souvenirs. However the real action is inside where snakes collected from all over the state lay in piles by the thousands, waiting to be sexed, milked and ultimately killed. Through interviews and observational footage, "Snakes Alive!" explores the Sweetwater Rattlesnake Roundup, those that participate in the event, and the elements that make it an unabashed West Texas tradition.
This study compares the impact of media ownership, regulation and policy, and technology adoption on the introduction of digital terrestrial television in the United States and Mainland China. Through the use of a case study approach, a qualitative and quantitative examination is given. The results indicate that private group ownership throughout the U.S. digital terrestrial television industry and state ownership in China's television industry lead to the different paths to digital transition. Both governments, however, are deeply involved in respective digital initiatives and play an important role in the implementation from analog to digital. The technical standard adoption in the two countries places the underpinning for the future development of digital television (DTV), which also results in China lagging behind the United States by almost ten years. The differences of technological environments in households and income among consumers in the two countries further predict the intention to DTV adoption.
This project explores the representation of white, American masculinity within the Hollywood bromantic comedy cycle. By analyzing three interrelated components (close homosociality, infantilization, and relationship to patriarchy) of the model of masculinity perpetuated by this cycle of films, this study reveals the hegemonic motives therein. Despite the representation of a masculinity nervously questioning its position within the romantic comedy narrative and the broader patriarchal structure, the results of this representation are, ultimately, regressive and reactionary. Cultural gains made concerning gender, sexuality, and race are doubled back upon in a cycle of films that appeal to regressive modes of misogyny, homophobia, and racism still present in Hollywood filmmaking, and the hegemony of white, patriarchal heteronormativity is rigorously maintained.
No Way Out: A Historical Documentary is the written companion to a forty-minute documentary film entitled "No Way Out". The film deals with a 1974 inmate standoff at a prison in Huntsville, Texas known as the Carrasco Incident. The film examines the prison takeover through the eyes of those who lived through it. Composed of five interviews, "No Way Out" is a compilation of various points of view ranging from former hostages, members of the press, and law enforcement. The written companion for this piece discusses the three phases of the production for this film. These chapters are designed to share with the reader the various intricacies of documentary filmmaking. The thesis also explores theoretical issues concerning collective memory, coping behavior, and the ethics of historical documentary filmmaking.
Beginning with mother/daughter film classics such as Stella Dallas (1937) and Mildred Pierce (1945), and moving to consider recent mother/daughter texts, Anywhere But Here (1999) and "Gilmore Girls" (2000 -), this thesis, in both its written and visual components, examines the multiple and often contradictory ways in which mothers and daughters have been represented in popular culture. Challenging the discourses that singularly stress struggle and separation, this research highlights representations that emphasize mother/daughter connection, and examines how such identification empowers mothers and daughters. This project is guided by cultural studies and feminist film theories. The first two chapters outline past and present paradigms of mothers and daughters respectively; the third chapter examines the goals and findings of the visual component.
Though the remnants of a stereotype created over two millennia ago still thrive in American popular culture today, redheaded women are enjoying a more positive role in society than they have ever seen before. Women in Red explores the experience of the redheaded woman in America today by examining how the stereotypes have affected a small group of them, how these women relate to the stereotypes, and why, given the verisimilitude of the stereotype, a non-redheaded woman would embrace such an identity with the simple act of dying her hair red. This is the story behind the experience that is Women in Red.
The video decribes a Chinese temple, Kwan Kong temple. This documentary follows the ceremony of this temple. We will watch the interaction between the worshipers and their God. The accompanying paper reports on the production background, preproduction process, and includes discussion of the problems encountered from production through postproduction stages.
Professors in mass communications departments of higher education institutions continue to search for the best way to prepare graduates for the ever-changing world of print, broadcast, and online media. Business administration theories have long been used in other areas, including education. While some application of strategic planning has been documented with regards to education, there is not much to reference in this area. The study investigated the use of strategic planning in developing a course of action for curriculum convergence in mass communication programs. The study used a purposive sample to determine if administrators are utilizing this method as a part of curriculum convergence. The results indicated a use of this method among institutions involved in curriculum convergence.
This case study evaluated Major League Baseball's (MLB) media product portfolio to identify how broadcast revenues have evolved over the past decade. This research looked back across baseball's long, dysfunctional history with broadcasters in order to recognize the significance of its ambitious use of online content. While MLB had failed to fully utilize the potential of broadcasting, the league's aggressive online strategy through its Advanced Media (MLBAM) division made it the industry leader in broadcasting live streaming sports video. MLBAM expanded its online streaming video to mobile phones and iPad, further expanding the distribution of its content. This research compared MLBAM revenue to traditional broadcast revenue while analyzing the online division's role in promoting the MLB brand. This case study concluded that while MLBAM had made a number of groundbreaking developments, the league could still improve its use of embedded, shared video clips, archived footage and international marketing in order to further extend the brand equity of the MLB, its thirty individual brands and its media product portfolio.
This thesis examines the ways American visual media -television and mainstream/independent cinema- has presented the narrative of child sexual abuse since the beginning of the 21st century. Due to the rise of the counterculture movement and the sexual revolution of the 1960s, a discourse for talking about child sexuality was created. By providing an opportunity to discuss children and sex, for the first time cultural products could deal overtly with child sexual abuse, rather than connotatively. In response to this new discourse, conservative ideals about child sexuality proliferated in the 1970s and 1980s that attempted to return the child to a world of purity and asexuality with all threats to this purity being monstrous. The examples discussed in this thesis highlight the ways that contemporary American visual media has responded to three decades of obsession that created a "master narrative" of child sexual abuse - something that continues to play a significant role in society.
The film starts with another ordinary day, two elderly men playing Backgammon, cars passing by, children playing in the street; scenes anyone anywhere in the world can relate to. Seemingly without warning, as the sun set on that ordinary day, the audience is taken on a perilous journey through war-torn Beirut. Born in Beirut is a thoughtful and poetic examination of war through the eyes of a child who lived through endless conflict in war-torn Beirut. The film examines the futility of war and the price paid in innocent lives.
From the socially conservative 1950s to the permissive 1970s, this project explores the ways in which insanity in women has been linked to their femininity and the expression or repression of their sexuality. An analysis of films from Hollywood's post-classical period (The Three Faces of Eve (1957), Lizzie (1957), Lilith (1964), Repulsion (1965), Images (1972) and 3 Women (1977)) demonstrates the societal tendency to label a woman's behavior as mad when it does not fit within the patriarchal mold of how a woman should behave. In addition to discussing the social changes and diagnostic trends in the mental health profession that define “appropriate” female behavior, each chapter also traces how the decline of the studio system and rise of the individual filmmaker impacted the films' ideologies with regard to mental illness and femininity.
The thesis focuses on analyzing and discussing Hunanese audience members’ receptions of three of his films – Rocky IV (1985), Cliffhanger (1993) and The Expendables (2010) to reveal the audiences’ motivations of admiring him and his movies. The analysis is based on Hunanese male characteristics because Hunanese culture is a male centric culture. In the Rocky IV film, Hunanese fans like his manhood, nature of soldier, and determination. In the response to Cliffhanger, some audience members appreciate his manhood, family value. Some members think his character is a coward, some of them even support the bad guys. In the audience’s reception of The Expendables, audiences have different opinions for different action actors. For example, Barney Ross (Stallone) was perceived as an extraordinary military leader. The thesis is divided into six chapters, and conducted upon Stuart Hall’s Encoding & Decoding theory.
Gods, Have Merced! chronicles the struggle of Jose Merced, a Santeria priest, with the city of Euless, Texas, where he has been residing for 17 years in an effort to overrule an ordinance that bans the most critical element of his faith: animal sacrifice. As the city officials justify the ban on the basis of public health, Merced thinks he is merely a victim of selective code enforcement aimed a restricting his freedom of religion. Local and national media covered the lawsuit he filed against the City of Euless, and Merced seems ready to take the fight over animal sacrifice to the United States Supreme Court. He wants American justice to give his African-originated religion recognized in a city where people seem uneasy about a practice that brings back the historic fears of Voodoo and its popularly assumed malefic practices. The film explores the complex structure of Santeria, its African roots, its renaissance in the Americas and the very controversial issue of animal sacrifice in the US.
This thesis film is an overview of Nazi Germany, primarily told through the use of their own propaganda images, and structured in such a way as to make the viewer question what they think they know about the past, present, and future. This paper is a discussion of the process that went into making the film and some of the ideas connected to it that could not be brought out in the documentary.
This study of radio news stations adds to the field of Twitter research into broadcasters' use of this social media microblogging platform; previous research has predominantly focused on television. This case study, based on a survey with numerous open-ended questions completed in face-to-face interviews, begins to fill in data on how Twitter is being used in major market radio station newsrooms. Limited in scope, this exploratory study used answers from seven members of two radio newsrooms in trying to find out if there were stated goals for tweets; if separate, unique content was being tweeted or was content tied to the stations' on-air product; how tweets seek to increase station listenership and/or increase station website traffic; what were the most frequently tweeted topics; what hyperlinks were included in tweets for internal or external web content; and were tweets personal and/or opinionated, or kept more professional with just factual material. From a strategic management theory standpoint, there is neither a stated plan nor goals sought with these newsrooms' use of Twitter. Unique tweet content includes sending out photos which add visuals to the pictureless world of radio news and live-tweeting of ongoing news events, while complementary content is promotional to push audience members to on-air or website products. There are no analytics in place to try to determine whether the stations' listenership or web traffic increases based on tweets. Promotional teases of upcoming on-air guest interviews or news content and/or web content are the most frequently tweeted topics. Hashtags rather than hyperlinks are more often included in the stations' tweets. News personnel stay away from expressing opinions, or being too personal in tweets, but remain more objective and professional by sticking to facts which is in step with the traditional role of journalists.
The pilot study used in this thesis examined the attitudes and perceptions of a small group of students at the University of North Texas. The participants in this pilot study (n=22) were administered an online music file sharing survey, a Defining Issues Test (DIT), and participated in a small focus group. This thesis also outlined the history and progression of online music piracy in the United States, and addressed four research questions which aimed to determine why individuals choose to engage in the file sharing of copyrighted music online.
The purpose of this study is to frame the cinematic male prostitute as a "fallen angel" to demonstrate that the evolution of the cinematic hustler has paralleled historicized ideological definitions of male homosexuality. Because cultural understandings of male homosexuality frequently reflect Judeo-Christian ideological significations of sin and corruption, the term "fallen angel" is utilized to describe the hustler as a figure who has also succumbed to sin due to his sexual involvement with other men. This study constructs an epochal analysis of eight films that explores the confluence of the social understanding of homosexuality with the cinematic image of the hustler from the mid 1960s through the present. In doing so, this study shows that the image of the cinematic hustler is intricately tied to the image of the male homosexual in material cultures and eras that produce them. A filmography is included.
Out of Date chronicles the filmmaker's personal journey as she tries to untangle her mixed feelings on singlehood and romance, and turns to the older generation for advice, tales of love and stories of success or failure. The documentary links and contrasts different generations' experiences in love and dating. Also, the film deals with loneliness, commitment, gender differences, and social and cultural practices of love and dating.
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