2024-03-28T11:20:26Zhttps://kuscholarworks.ku.edu/oai/requestoai:kuscholarworks.ku.edu:1808/117132020-09-30T14:16:02Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Swindell, Jon Keith
Miller, David Kyle
Hachmeister, John
Burke, Matthew
Havener, Jon
2013-08-24T22:21:05Z
2013-08-24T22:21:05Z
2013-05-31
2013
http://dissertations.umi.com/ku:12751
http://hdl.handle.net/1808/11713
The conception and production of BOY as a thesis exhibition is a personal genesis. "Who am I" "Why have I become what I am? ", are the questions I asked myself upon embarking in the creation of BOY. By projecting once repressed, now active memories through a self-styled, provisional philosophical lens, I seek to gain an understanding of myself. This body of work serves as the interpretive evidence of that projection and forms a base from which to construct a series of realizations that aid in the development of an accepted identity. Thus, my sculptural investigations function as an exercise in self-actualization and realization. By applying the above thesis, I have begun to recognize and value elements in the works that arose as a result of my investigation. Symbolic representations of the dichotomous relationship between religiosity and sexuality constitute my personal narrative - the artist's voice - because they represent a conscious, intentional development and understanding of me.
26 pages
en
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Fine arts
Actualization
Identity
Sculpture
BOY
Thesis
Visual Art
M.F.A.
na
This item does not meet KU Open Access policy criteria.
8086254
oai:kuscholarworks.ku.edu:1808/76232020-08-06T15:59:52Zcom_1808_1260com_1808_7799col_1808_1952col_1808_13991
Falicov, Tamara
Mwakalinga, Mona Ngusekela
Baskett, Michael
Preston, Catherine
Ukpokodu, Peter
Myers, Garth
2011-06-21T15:48:55Z
2011-06-21T15:48:55Z
2010-12-15
2011
http://dissertations.umi.com/ku:11247
http://hdl.handle.net/1808/7623
This study examines the film industry in Tanzania from the 1960s to 2010 and assesses how government policies, legislation, and cultural institutions have impacted filmmaking in Tanzania. By employing a critical political economy theoretical framework, the study explores succeeding administrations, from President Julius Kambarage Nyerere (1961-1985) to President Mrisho Jakaya Kikwete (2005-present), and reveals cultural mechanisms governments use in controlling the film industry. Through the use of archival information, interviews, and participant observation, the study reveals that despite the social, cultural, economic, political, and ideological shifts that Tanzania has experienced in moving from socialism to capitalism, each administration, using different mechanisms, has retained a strong hold on the film industry. These administrations in advancing their power and legitimacy established cultural institutions and film policies that saw to it that only government-sanctioned images and cultural values were projected to its citizenry. This study reveals that government institutions such as the Government Film Unit (GFU), the Tanzania Film Company (TFC), the Audio Visual Institute (AVI), the National Film Censorship Board (NFCB), the Film and Stage Play Act of 1976, the Cultural Policy, the Cultural Trust Fund, the Copyright Law of 1999, the Copyright Society of Tanzania (COSOTA), and the Zanzibar International Film Festival (ZIFF) were established as mechanisms to control local cultural products as well as the intrusion of foreign cultural products. The policies, legislation, and cultural institutions gave the government the power to influence the opinion of its citizens by dictating what cultural images and identities were permissible. By examining how policies, institutions, and legislation impacted the film industry, an understanding of how governments manipulate and control the cultural/film sector is critically highlighted and addressed in the hope that an alternative, more diversified perspective will emerge.
229 pages
en
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Film studies
Film industry
Tanzania
The Political economy of the Film Industry in Tanzania: From Socialism to an Open Market economy, 1961-2010
Dissertation
Film & Media Studies
Ph.D.
na
This item does not meet KU Open Access policy criteria.
7642751
oai:kuscholarworks.ku.edu:1808/194802018-01-31T20:07:54Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Hachmeister, John
Stertz, Kasey
Sanguinetti, Paola
Vertacnik, David
2016-01-02T19:05:13Z
2016-01-02T19:05:13Z
2015-05-31
2015
http://dissertations.umi.com/ku:14017
http://hdl.handle.net/1808/19480
Transformative visual cypher-landscapes navigated by human interaction. My work is a system of trails and paths meant to be followed through signals of texture, number, and color. Within the work are solutions which depict our natural landscape at its purest – untouched by human civilization. On the journey to solve, the forms are ever-changing and take on infinite visual combinations defined by manipulation.
17 pages
en
University of Kansas
Copyright held by the author.
openAccess
Fine arts
Design
Logic
Digital Fabrication
Information Design
Landscape
Navigation
Sculpture
Transformation
blaze
Thesis
Visual Art
M.F.A.
oai:kuscholarworks.ku.edu:1808/145812018-01-31T20:08:05Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Katz, Cima
Lowe, Daniel
Rosenthal, Benjamin
Akers, Norman
2014-07-05T17:47:25Z
2014-07-05T17:47:25Z
2014-05-31
2014
http://dissertations.umi.com/ku:13376
http://hdl.handle.net/1808/14581
Through a combination of existing philosophies, including that of Martin Heidegger and Joseph Campbell, with the mythologies of Dante's Divine Comedy and Buddhism, I have created a structural basis for the exhibition #THENEWMYTHOLOGY. This structure attempts to deconstruct the traditions of contemporary life, focusing on digital interactions mediated primarily through social media sites. This deconstruction of tradition opens up the possibility of a more authentic understanding and way of Being.
17 pages
en
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Fine arts
Buddhism
Dante
Heidegger, Martin
Mythology
Social media
The new mythology
#THENEWMYTHOLOGY
Thesis
Visual Art
M.F.A.
na
This item does not meet KU Open Access policy criteria.
oai:kuscholarworks.ku.edu:1808/80502020-06-18T01:31:50Zcom_1808_1260com_1808_7799col_1808_1952col_1808_13991
Christilles, Dennis
Shaw, Michael
Bondari, Katrina
Bial, Henry
Gronbeck-Tedesco, John
Younger, John
Wright, Jack
2011-09-22T01:31:54Z
2011-09-22T01:31:54Z
2011-05-19
2011
http://dissertations.umi.com/ku:11588
http://hdl.handle.net/1808/8050
This dissertation explores the effects of the shared space of the Theatre of Dionysos and the Acropolis during tragic performances in Athens during the 5th century BCE. The theatre's location on the south slope of the Acropolis allowed the Acropolis' depiction of Athenian power, I argue, to speak to audience members as they watched dramatic performances in the theatre space. The theatre's location provides a way of understanding how the mythic plots of the tragedies could speak to the contemporary concerns of the Athenian polis. I am concerned with what the spatial relationship between the Theatre of Dionysos and the Acropolis becomes during the performances, how it contributes semiotic meaning to tragedies that call upon it, and how it influences the thematic effect of these performances. I examine three tragedies historically and ideologically within the context of their first performances: Aeschylus' Persians, Aeschylus' Eumenides, and Euripides' Ion. These case studies reveal the semiotic influence of the Acropolis on tragic performances that refer to its presence within the Theatre of Dionysos. This sampling of plays that span the course of the 5th century disclose the shifting Athenian perception of their polis. They effectively demonstrate the changes in the way the Acropolis presents Athenian power, and the various roles it enact in the performances. Writing about the role of the Acropolis in tragic performances that took place in the Theatre of Dionysos is a project aimed at contributing to the conversation on the role of spatial semiotics in performance, and in particular, ancient performance. This interdisciplinary project contributes to a variety of fields including theatre and performance studies, classics and archaeology, and anthropology.
191 pages
en
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Theater--History
Classical studies
Performing arts
Acropolis
Theatre of Dionysos
Tragedy
The Power of Space: The Acropolis, the Theatre of Dionysos, and Tragedy in the 5th Century BCE
Dissertation
Theatre
Ph.D.
na
This item does not meet KU Open Access policy criteria.
7643034
oai:kuscholarworks.ku.edu:1808/190562018-01-31T20:07:54Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Nam, Yoonmi
Keefe, Paul Michael
Akers, Norman
Krueger, Michael
Brackett, David
2015-12-03T04:14:23Z
2015-12-03T04:14:23Z
2015-05-31
2015
http://dissertations.umi.com/ku:14091
http://hdl.handle.net/1808/19056
Top Flight uses personal memoir and the ordinary experiences of everyday life as a vehicle to discuss privacy, self-awareness, learning and personal growth. The exhibit, comprised of twenty-eight large-scale drawings, took the form of an installation, encompassing one wall twenty-eight feet wide and twenty-seven feet high. These drawings, made to resemble enlarged notebook pages, featured a variety of notes, lists, and drawings. They were hung on the wall in a grid-like fashion and presented as an autobiographic account of my daily life. Viewers were encouraged to explore the records of my personal life, discover hidden narratives, and ultimately, walk away with their own understanding of what it means to document and share one’s experiences.
17 pages
en
University of Kansas
Copyright held by the author.
openAccess
Art criticism
Drawing
Painting
Visual Art
Top Flight
Thesis
Visual Art
M.F.A.
oai:kuscholarworks.ku.edu:1808/53442020-07-23T16:05:32Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Katz, Cima
Wood, Jody
Park, So Yeon
Velasco, Maria
2009-07-31T04:53:04Z
2009-07-31T04:53:04Z
2009-04-28
2009
http://dissertations.umi.com/ku:10288
http://hdl.handle.net/1808/5344
Support Systems is a multimedia art installation that addresses shifting personal boundaries in contemporary America and functions as a dialogue between the external battles we must face and the internal landscape we need to preserve. The artwork questions how we find a balance between protecting ourselves and making the connections that give us support. It consists of two integrated pieces. A video installation entitled 'Passive Aggressive' viscerally illustrates the difficulty of negotiating personal boundaries in public spaces. The second piece, entitled 'Comfort Zone,' consists of a comfortable, private space in which the viewer can retreat and privately listen to taped and edited conversations of women speaking about their own comfort zones and how they express or repress their need for connections.
12 pages
EN
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Fine arts
Community
Exhibition
Installation
Multimedia
Video
Support Systems
Thesis
Art
M.A.
na
This item does not meet KU Open Access policy criteria.
6857569
oai:kuscholarworks.ku.edu:1808/106452018-01-31T20:08:05Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Stone, Denise
Grandstaff, Lindsey Jean
Derby, John
Kowalchuk, Elizabeth
2013-01-20T16:00:11Z
2013-01-20T16:00:11Z
2012-05-31
2012
http://dissertations.umi.com/ku:11953
http://hdl.handle.net/1808/10645
The purpose of this study was to identify the existing early and contemporary theories of artistic development, compare them, and examine the applicability to current children's drawings. I also investigated subject matter to find out the frequency of visual culture in the drawings. I collected first and fifth grade drawings at a suburban, public elementary school analyzed them by use of two different checklists containing many characteristics described in Viktor Lowenfeld's theory of artistic development. The results indicated that the majority of these characteristics were found in the first and fifth grade drawings. I also discovered that a minority of the students included visual culture subjects in their drawings. When given a choice, more students drew images from everyday life such as playing with friends.
82 pages
en
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Art education
Developmental psychology
Artistic development
Subject matter
Viktor lowenfeld
Visual culture
Children's Artistic Development and the Influence of Visual Culture
Thesis
Visual Art
M.A.
na
This item does not meet KU Open Access policy criteria.
oai:kuscholarworks.ku.edu:1808/78692020-08-13T14:31:09Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Katz, Cima
Pospichal, Todd
Carter, Carol Ann
Brackett, David
2011-08-02T18:56:25Z
2011-08-02T18:56:25Z
2011-04-13
2011
http://dissertations.umi.com/ku:11384
http://hdl.handle.net/1808/7869
My creative process emerges from the struggle between two contrasting impulses: a habitual desire to control my internal and external environments, and an instinctive need to overcome these constraints. The discoveries I have made in the studio have fostered my desire to confront anxiety and make critical decisions in the face of uncertain outcomes. For me, the process of making has become a mode of thinking. It has become a way of remembering the past, envisioning the future, and experiencing the present moment. I find that working with collage in combined analog and digital formats, allows me to experiment with images and materials in an immediate way. As a result, my studio practice has provided a way for me to circumvent the controlling mind, and to re-examine some of the old, outdated paradigms I have about life and art.
14 pages
en
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Fine arts
Abstract
Collage
Contemporary
Control
Painting
Time
Circumventing Control
Thesis
Visual Art
M.F.A.
na
This item does not meet KU Open Access policy criteria.
7642902
oai:kuscholarworks.ku.edu:1808/116862020-09-29T14:29:17Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Katz, Cima
Cheville, Jori Louise
Hartman, Tanya
Maude, Marshall
2013-08-24T20:34:09Z
2013-08-24T20:34:09Z
2013-05-31
2013
http://dissertations.umi.com/ku:12749
http://hdl.handle.net/1808/11686
In order to give voice to the understanding of my individuality, I create work as a memoir through visual symbolism. My hope is that as I revisit these parts of my life I am able to reflect on and release negative fragments. I choose to create work visually emphasizing the extremes of life using accumulation of imagery, vivid color, bold markings and textures. I balance the extremes by visually communicating the nuances of life through the use of delicate line quality, a soft color palette, and calm and repetitive subjects to indicate meditation and the passage of time. This body of work allows me to recognize myself as an artist. In turn, my creative process helps me to understand where I want to be as a person in order to maintain a sense of balance.
14 pages
en
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Fine arts
Part and Parcel: An Essential Component of Experience
Thesis
Visual Art
M.F.A.
na
This item does not meet KU Open Access policy criteria.
8086226
oai:kuscholarworks.ku.edu:1808/77592020-08-12T13:21:08Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
McCrea, Judith
McLouth, Cody Alan
Akers, Norman
Leedy, Sherry
2011-07-04T22:23:39Z
2011-07-04T22:23:39Z
2011-04-15
2011
http://dissertations.umi.com/ku:11363
http://hdl.handle.net/1808/7759
Synecdoche: Visions of Midwestern Solitude is an MFA Thesis Exhibition comprised of small-scale paintings of rural scenes that examine the way memory and perception is used in experiencing the landscape. By incorporating a method of nocturnal observation, the artist introduces an element of uncertainty to the viewer--a veiling of context and awareness. Seemingly recognizable locations become abstractions of personal experience, transforming them into vaguely familiar gestures of life in the Midwest.
13 pages
en
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Fine arts
Contemporary
Culture
Landscape
Memory
Painting
Psychology
Synecdoche: Visions of Midwestern Solitude
Thesis
Visual Art
M.F.A.
na
This item does not meet KU Open Access policy criteria.
7642907
oai:kuscholarworks.ku.edu:1808/103962020-08-04T13:29:13Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Baskett, Michael
Mauro, Daniel J.
Falicov, Tamara
Preston, Catherine
2012-11-19T22:57:30Z
2012-11-19T22:57:30Z
2010-05-31
2010
http://dissertations.umi.com/ku:10922
http://hdl.handle.net/1808/10396
The home movie remains an object of study far under-theorized and under-researched in the discipline of film and media studies, in part, because of the very nature of its unique qualities as a moving image produced and exhibited in the home mode. It is the goal of this thesis to develop a theoretical framework with which to appropriately approach a reading of the home movie in consideration of the contextual factors which surround, inform, and influence its interpretations. Specifically, it will be argued that the home movie should be read as a form of process. In developing this model, the thesis will initially proceed to define the notion of 'process' in terms of visual analysis, then apply this definition to the social practices of the home movie according Richard Chalfen's concept of the 'home mode' of image-making and image-viewing. Finally, interactions involved in the process of the home movie will be explored through relative notions of aesthetics and memory as they apply to the experience of the home mode.
74 pages
EN
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Communication
Aesthetics
Fine arts
Exhibition
Film and media studies
Home mode
Home movie
Memory
Production
Home Movie as Process: Developing a Reading of the Moving Image in the Home Mode
Thesis
Film & Media Studies
M.A.
na
This item does not meet KU Open Access policy criteria.
7078854
oai:kuscholarworks.ku.edu:1808/42472020-07-16T15:10:56Zcom_1808_1260com_1808_7799col_1808_1952col_1808_13991
Preston, Catherine
Arenas Velez, Fernando
Small, Edward S
Tibbetts, John
Baskett, Michael
Staples, William
2008-09-29T05:52:52Z
2008-09-29T05:52:52Z
2008-03-20
2008
http://dissertations.umi.com/ku:2381
http://hdl.handle.net/1808/4247
https://orcid.org/0000-0003-0324-2825
This dissertation examines the audiovisual representation of physical disability in a group of films produced for theatrical and television distribution. The films under study are: Prelude to Happiness (USA, 1974), Passion Fish (USA, 1992), The Sea Inside (Mar Adentro, Spain, 2004), and The Brooke Ellison Story (USA, 2004/TV). The study challenges the critique of media representations of disability as predominantly carriers of stereotypes and producers of harmful effects in the audience --a view emanating from a number of media and disability studies scholars-- with a more personal, hermeneutic approach based on the focus group methodology. It concludes with a discussion of the strategies of interpretation used by these viewers with disabilities to make sense of disability centered films, in the context of a cultural studies model of audience reception theory.
258 pages
EN
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Cinema
Disability television film cinema audience reception
Audience Response & Disability Representation in Four Film and Television Dramas: A Qualitative Audience Study
Dissertation
Theatre & Film
PH.D.
na
This item does not meet KU Open Access policy criteria.
6599422
oai:kuscholarworks.ku.edu:1808/117032020-10-01T14:23:18Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Jordan, Mary A
Wegren, Allison Felice
Katz, Cima
Bitters, Shawn
2013-08-24T22:08:16Z
2013-08-24T22:08:16Z
2013-05-31
2013
http://dissertations.umi.com/ku:12775
http://hdl.handle.net/1808/11703
Abstract The large-scale installation, Hidden Hands, is constructed of thousands of fabric loops in various colors that cover the exhibition walls. Next to this growth of fabric is a domestic workspace, along with pins, needles, torn garments, and other objects requiring attention and care. A massive quilt lying on the floor next to this transformed corner of the gallery connects the two spaces. Hidden Hands also incorporates sounds, smell, light, and fans to evoke feelings of chaotic domesticity and daily tasks requiring attention. Domestic work has predominantly been done by women for hundreds of years. Between tending to the children, preparing meals, and keeping the home, the occupation of “housewife” has long been one of the most varied and strenuous. Hidden Hands highlights the significance and importance of domestic toil and care; it is an acknowledgment of the hours of unrecognized labor, and a tribute to the countless tasks completed by women.
15 pages
en
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Fine arts
Buttons
Domestic
Installation
Quilt
Textiles
Women
Hidden Hands
Thesis
Visual Art
M.F.A.
na
This item does not meet KU Open Access policy criteria.
8086268
oai:kuscholarworks.ku.edu:1808/145932018-01-31T20:08:05Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Reaney, Mark
Ubert, Julia Ann
Unruh, Del
Leon, Mechele
2014-07-05T18:16:47Z
2014-07-05T18:16:47Z
2014-05-31
2014
http://dissertations.umi.com/ku:13363
http://hdl.handle.net/1808/14593
Bertolt Brecht's Mother Courage and her Children is a story of strong headed Canteen Woman, Anne Fierling, who is determined to earn her living and support her family from the Thirty Years War. I chose Mother Courage because the struggle of the Mother and her children in this world really sparked my curiosity as to why she would choose this living for her family. When I read Mother Courage my husband was playing a video game called FallOut: New Vegas. This video game is set in a post-nuclear war, where the inhabitants of the world were living in a highly irradiated desert atmosphere. I chose to place the play in this setting because Post-apocalyptic is current in today's youth and media. I approached the costumes with this same aesthetic with an edge. The lighting concept serves the mood and atmosphere supporting the dark days of fear and war.
99 pages
en
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Theater
Brecht, Bertold
Courage
Design
Mother
Post-apocalyptic
Scenography
Mother Courage and her Children Scenography
Thesis
Theatre
M.F.A.
na
This item does not meet KU Open Access policy criteria.
oai:kuscholarworks.ku.edu:1808/218172018-01-31T20:07:51Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Jordan, Mary Anne
Burchett, Shelby
Hartman, Tanya
Velasco, Maria
Brackett, David
2016-11-03T23:40:25Z
2016-11-03T23:40:25Z
2016-05-31
2016
http://dissertations.umi.com/ku:14615
http://hdl.handle.net/1808/21817
Abstract: Goo-Witching: Hydromancy is a culmination of searching for moments of magick, manifesting child-like imagination to rediscover the world, and experimenting with strange materials and creatures that fill the soul with curiosity. Goo-witching explores the need to imagine, dissect, and understand that which can be seen, as well as that which exists on non-physical planes. The majority of the Goo-Witch’s explorations primarily focus in liquid-bound working methods. The element of water transforms, cleanses, and flows as a mechanism of creation and life. Each process utilizes water as a tool, platform for alchemical change, and display mechanism. Crystal chemistry, marbling techniques, spell jars, silkworm husbandry, and meditation pools all demand the presence of water as life-giver and sustainer. Hydromancy, a means of divination by water movement, defines these water bound explorations as a starting point in accessing both everyday magick and that which exists outside of rationalization. Goo-Witching: Hydromancy addresses the intersection of mythology and magick rooted in the textile craft as well as more unique manifestations of making and material exploration. This ever-expanding body of work coupled with the role of female maker is a testament to a growing understanding of spiritual femininity and the making of one’s own magick. Through this work, the Goo-Witch hopes to subtly expose others to ephemeral instances of magick and uncanny otherworldly delectation. Goo-witching constitutes working towards exposing the notion that this world is still a mysterious body worthy of our curiosity, thorough inquiry, and loving care.
56 pages
en
University of Kansas
Copyright held by the author.
openAccess
Art criticism
Art history
Goo-Witch
hydromancy
installation art
magick
withcraft and art
Goo-Witching: Hydromancy
Thesis
Visual Art
M.F.A.
oai:kuscholarworks.ku.edu:1808/41332020-07-20T14:38:31Zcom_1808_1260com_1808_7799col_1808_1952col_1808_13991
Gronbeck-Tedesco, John
Prece, Paul Michael
Ajayi-Soyinka, Omofolabo
Bial, Henry
Smith Fischer, Iris
Wright, Jack
2008-09-08T01:01:17Z
2008-09-08T01:01:17Z
2008-07-31
2008
http://dissertations.umi.com/ku:2526
http://hdl.handle.net/1808/4133
ABSTRACT Paul Prece, Ph.D Department of Theatre and Film, April, 2008 University of Kansas Athol Fugard and August Wilson are two of the most prolific, respected, and artistically and commercially successful playwrights of the second half of the twentieth century. They have been contemporaries, writing and re-writing personal histories. For Fugard the endeavor began in the middle of the twentieth century, telling the stories of South Africans during and in the aftermath of apartheid. Wilson's appearance as an American playwright in the early 1980's began a dramatic chronicle that re-visions American life in the twentieth century, after slavery and emancipation, through African American eyes. Wilson's and Fugard's writings mirror one another's attempt to articulate the voices of the disenfranchised. When integrated and read collectively their plays possess the potential to evoke themes and issues for collective interpretation. The dramaturgy of both writers counter-illuminate issues within the societies from which they emerge. Their use of dramatic form and the manner and style in which they (re)present an unsung history seems to suggest a perspective and animus for their writing strategies and almost ideological approach. Their common concerns are especially coherent and well-formulated with respect to history and the relationship between their own literary efforts and the collective record of the past. Their work frames a perspective for hearing what has been uttered but hitherto not repeated in documented history. If history validates and proves, the plays of Fugard and Wilson authenticate by their recreation of experiences that have shaped their own. They have inhabited the history they dramatize, but not the books that claim to tell the story. In this sense their work provides a new framework for hearing and understanding the authentic voices of those muted by apartheid and racism. Neither writer has referred to their dramaturgy as post colonial, nor have many critics. But the work of both men finds its core in the state of being that is identifiable in the post colonial status of subjugated individuals. In the common threads they explore, they mark authentic space and replicate voices in a dialogue that needs to be heard.
290 pages
EN
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Theater
Writing Home: The Post Colonial Dialogue of Athol Fugard and August Wilson
Dissertation
Theatre & Film
PH.D.
na
This item does not meet KU Open Access policy criteria.
6599465
oai:kuscholarworks.ku.edu:1808/40652018-01-31T20:08:08Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Burke, Matthew
Sailer, Stephanie Ann
Luoma, Alison
Hartman, Tanya
2008-08-05T12:46:11Z
2008-08-05T12:46:11Z
2008-04-30
2008
http://dissertations.umi.com/ku:2509
http://hdl.handle.net/1808/4065
The thesis exhibition "How They Made Another Me" is a sculptural installation consisting of six caged creatures, hanging by hoists from a 30' tall ceiling. The space is darkly lit, creating an atmosphere of silent reverence. In the center of the room, surrealistic creatures are contained in metal cages and were created from cast rubber, hammered copper and plastic. Rubber parts are manipulated casts of female anatomy, then are coupled with abstracted copper forms. The sculptures live as physical manifestations of the emotional mind.
18 pages
EN
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Fine arts
Sculpture
Installation
Metals
How They Made Another Me
Thesis
Art
M.F.A.
na
This item does not meet KU Open Access policy criteria.
oai:kuscholarworks.ku.edu:1808/241302018-01-31T20:07:48Zcom_1808_1260com_1808_7799col_1808_1952col_1808_13991
Preston, Catherine
Woodson, Mary Beth
Falicov, Tamara
Willmott, Kevin
Jacobson, Matthew
Conrad, Kathryn
2017-05-14T23:37:19Z
2017-05-14T23:37:19Z
2016-12-31
2016
http://dissertations.umi.com/ku:15034
http://hdl.handle.net/1808/24130
In this study I examine the evolving discourse of environmental concerns within visual ecological media that utilizes what I define as ecological memory—ecomemory. As part of this examination, I analyze the forms ecological memories take, how those memories are presented, and the role they play. Employing a combination of ecocriticism and memory and nostalgia studies, I conduct a discourse analysis of a variety of visual ecological media (ecomedia) examples from each of three time periods: 1970-1980, 1980-2004, and 2005-present. Additionally, I contextualize my examples by discussing the concerns of the times in which the media appeared. As an exploratory study, my ecomedia sampling is small: it includes: feature films (Silent Running, The Lord of the Rings, and Interstellar), television programs (Cosmos: A Personal Journey and Cosmos: A Spacetime Odyssey), a picture book (The Lorax, as well as a short form-TV version and the feature film), and both corporate and environmental group advertisements and PSAs. This study not only examines the evolving discourse of environmental concerns during specific time periods, but also illustrates the connections and changes between differing periods. It illustrates the place of visual ecomedia within the larger environmental discourse over the last forty-plus years. Ultimately, it shows the consistency over time of collectively-held ecomemories and of the nostalgia for and longing to return to the lost edenic utopia of those memories.
201 pages
en
University of Kansas
Copyright held by the author.
openAccess
Film studies
History
Environmental studies
Ecomedia
Ecomemory
Interstellar
Lord of the Rings
Silent Running
Remembering What We Lost: Ecomemory, Visual Ecomedia, and the Discourse of Environmental Concern
Dissertation
Film & Media Studies
Ph.D.
oai:kuscholarworks.ku.edu:1808/76752020-08-07T14:21:05Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Tibbetts, John C
Saltz, Zachary
Baskett, Michael
Berg, Chuck
2011-06-21T19:37:27Z
2011-06-21T19:37:27Z
2011-04-19
2011
http://dissertations.umi.com/ku:11500
http://hdl.handle.net/1808/7675
The Green Sheet was a bulletin created by the Film Estimate Board of National Organizations, and featured the composite movie ratings of its ten member organizations, largely Protestant and represented by women. Between 1933 and 1969, the Green Sheet was offered as a service to civic, educational, and religious centers informing patrons which motion pictures contained potentially offensive and prurient content for younger viewers and families. When the Motion Picture Association of America began underwriting its costs of publication, the Green Sheet was used as a bartering device by the film industry to root out municipal censorship boards and legislative bills mandating state classification measures. The Green Sheet underscored tensions between film industry executives such as Eric Johnston and Jack Valenti, movie theater owners, politicians, and patrons demanding more integrity in monitoring changing film content in the rapidly progressive era of the 1960s. Using a system of symbolic advisory ratings, the Green Sheet set an early precedent for the age-based types of ratings the motion picture industry would adopt in its own rating system of 1968. Through the publication of its own reviews, it provides a glimpse into how the member organizations evaluating film content justified their designated ratings and conclusions. Largely ignored by historians of the Production Code and the ratings reforms of 1968, the Green Sheet is an instrumental part of the corporate history and makeup of the American film industry, particularly in motion picture exhibition. It provided a crucial intersection between Protestant groups, film distributors and exhibitors, and MPAA leaders eager to demonstrate their personal responsibility to ward off threats of classification. Its unclear enforcement and ambiguous advocation underlies many of the core problems and criticisms that motion picture ratings receive today.
112 pages
en
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Film studies
America--History
Religion
Censorship
Film ratings
Green sheet
MPAA
Protestant
Women
The Green Sheet and Opposition to American Motion Picture Classification in the 1960s
Thesis
Film & Media Studies
M.A.
na
This item does not meet KU Open Access policy criteria.
7642845
oai:kuscholarworks.ku.edu:1808/53562020-07-23T15:12:56Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Hartman, Tanya
Ortiz, Minerva Esmeralda
Katz, Cima
Guernsey, Dawn M
Park, So Yeon
2009-08-06T22:04:40Z
2009-08-06T22:04:40Z
2009-06-02
2009
http://dissertations.umi.com/ku:10273
http://hdl.handle.net/1808/5356
This essay explains the development of the painting series titled Fecunding. It explains how these works were influenced by a belief in the value of diversity seeded in my Mexican-American background. A personal quest for knowledge instigated by curiosity and search for truth led me to investigate eclectic themes through books, magazines, television, the internet, documentaries, and conversations. This broad search showed a shifting world where circumstances are constantly changing pointing to the relativity of truth. While this belief left me feeling groundless at times, it also created possibilities in my work and life. Thus, these paintings are energized by diverse themes and an unstable semblance.
10 pages
EN
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Fine arts
Culture
Diversity
Mexican-American
Painting
Possibilities
Relativity
Fecunding
Thesis
Art
M.A.
na
This item does not meet KU Open Access policy criteria.
6857567
oai:kuscholarworks.ku.edu:1808/69282020-08-05T14:32:46Zcom_1808_1260com_1808_7799col_1808_1952col_1808_13991
Preston, Catherine
von Schlemmer, Mark
Berg, Chuck
Willmott, Kevin
Falicov, Tamara
Barnett, Barbara
2010-12-29T03:10:24Z
2010-12-29T03:10:24Z
2010-07-30
2010
http://dissertations.umi.com/ku:11085
http://hdl.handle.net/1808/6928
The representations of "others" in film have been contentious since filmmaking began. Fraught with misrepresentations, cinema has been held responsible, and occasionally credited, for influencing cultural practices and helping to shape discourses in American society. This study suggests that the media representations of nonhuman animals also have a profound effect on how Americans think about animals and that these representations warrant examination to uncover the naturalized messages and assumptions that are presented about animals. Explored here are the extent to which these images depict animal-ness - moments of authentic nonhuman behavior or experience that are not simply a reflection of humanity but have meaning for the animals themselves. This study highlights the case of "food animals" - specifically pigs. The disjunction between how we represent them - the narratological roles they fill in animal films - and the way that actual pigs are used in American society is vast and disturbing. One hundred million pigs are raised away from the light of day in factory farms and then slaughtered in each year in the United States, but they are continually presented as intelligent and charismatic characters in our stories. Using critical theory and a discourse analysis methodology, this study is a close textual analysis of the feature films Babe and Charlotte's Web, along with incidental appearances of pigs on television and feature films. It explores how these works invite spectators to construct nonhuman beings as persons and how they present nonhuman perspectives, and then it interrogates the accuracy of the pigness of the characters depicted. The study confirms that these representations portray many characteristics of actual pigs and that certain films present genuine challenges to viewers to examine the contradictions between treating these intelligent and personable animals as both friends and meat.
247 pages
en
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Cinema
Mass communication
Environmental studies
Animal
Babe
Discourse
Ecocriticism
Film
Pig
Cinematic "Pigness": A Discourse Analysis of Pigs in Motion Pictures
Dissertation
Film & Media Studies
Ph.D.
na
This item does not meet KU Open Access policy criteria.
8085565
oai:kuscholarworks.ku.edu:1808/194822018-01-31T20:07:54Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Westergard, Gina
Son, Eunhwa
Havener, Jon
Stanionis, Lin
Jordan, Mary Anne
2016-01-02T19:08:06Z
2016-01-02T19:08:06Z
2015-05-31
2015
http://dissertations.umi.com/ku:13987
http://hdl.handle.net/1808/19482
Non+Precious, a Master of Fine Arts thesis exhibition, consists of five tables with assorted sets of jewelry arranged on the top and a suspended necklace centered above each. The sets of jewelry contain rings, bracelets, and brooches. My work can be classified as wearable art and an expression of fashion using a wide range of materials including paper, felt, acrylic, and composition gold leaf. My goal was to create an intriguing balance of precious and non-precious materials as well as formal and casual elegance. Everyday materials become anonymous and lose their identities in my work. I break down perceived ideas of what is precious and non-precious jewelry, suggesting to viewers that established hierarchies no longer exist.
17 pages
en
University of Kansas
Copyright held by the author.
openAccess
Fine arts
Art
Fashion
Jewelry
Non+Precious
Thesis
Visual Art
M.F.A.
oai:kuscholarworks.ku.edu:1808/59382020-06-25T20:28:36Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Ringer, Delores
Spencer, Madison Elizabeth
Wright, Jack
Christilles, Dennis
Westergard, Gina
2010-03-18T03:30:25Z
2010-03-18T03:30:25Z
2009-12-30
2009
http://dissertations.umi.com/ku:10219
http://hdl.handle.net/1808/5938
"A Midsummer's Night Bollywood Dream" An Indian Theatrical interpretation Of A Western Classic Author: Madison Elizabeth Spencer The Indian film industry makes as many if not more films than any other country in the world. However, films produced by the Hindi language cinema industry are often maligned as trashy or third rate by many in the West. The term "Bollywood" itself is often used as a pejorative term when describing the Indian film industry. In my design, I reveal how the Indian cinematic style, coupled with rich Hindu traditions and mythology, can be used to create a brand new look and feel to classical Western theater. I create a production of William Shakespeare's A Midsummer Night's Dream, using Bollywood inspired costumes, set design, and Hindu traditions. This results in an easily understandable, entertaining, and enjoyable production of an enduringly magical play, transcending place, time and culture.
120 pages
EN
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Theater
Bollywood
Costume
Design
Lighting
Scenic
A MIDSUMMER NIGHT'S BOLLYWOOD DREAM
Thesis
Theatre & Film
M.A.
na
This item does not meet KU Open Access policy criteria.
7079198
oai:kuscholarworks.ku.edu:1808/194782018-01-31T20:07:54Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Nam, Yoonmi
Stone, Gregory
Krueger, Michael
Rosenthal, Ben
Akers, Norman
2016-01-02T19:02:15Z
2016-01-02T19:02:15Z
2015-05-31
2015
http://dissertations.umi.com/ku:14044
http://hdl.handle.net/1808/19478
Salad Days is a multimedia installation consisting of sculpture, prints, painting, and artist’s books. Viewers are transported to a period of youthful innocence as they climb up into a fort reminiscent of the childhood ideal. The gallery floor forms pathways between patches of decaying grass littered with a colorful array of objects, creating a scene reminiscent of a cluttered backyard in suburban America. Beneath the pleasing layers of youthful nostalgia are cynical reminders of the realities and anxieties that accompany adulthood. Beyond being a platform for the thematic dialogue, the exhibition provides an opportunity for new relationships with the audience as they are asked to participate and contribute to the library of artist’s books. It is the mission of Salad Days to provide an immersive creative experience that is subversive, nostalgic, and interactive.
25 pages
en
University of Kansas
Copyright held by the author.
openAccess
Fine arts
American studies
Art history
Books
Installation
Nostalgia
Painting
Printmaking
Sculpture
Salad Days
Thesis
Visual Art
M.F.A.
oai:kuscholarworks.ku.edu:1808/145582018-01-31T20:08:11Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Nam, Yoonmi
Hawkins, Brian
Akers, Norman
Katz, Cima
Rosenthal, Benjamin
2014-07-05T17:10:36Z
2014-07-05T17:10:36Z
2014-05-31
2014
http://dissertations.umi.com/ku:13383
http://hdl.handle.net/1808/14558
Paper Trails is an exhibition consisting of two animations, Inquisitive Vignettes and Traces. These animations, one of which is projected on and accompanied by a player piano, examine the creation and interpretation of our cultural and personal histories. We construct these narratives from a variety of records, whether they are memories or physical artifacts, and while technology enables the ephemeral to be made tangible, the following questions remain. How much has been lost, preserved, excised or manipulated to alter the narrative, and what traces have been left?
17 pages
en
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Fine arts
Animation
Drawing
History
Narrative
Piano roll
Records
Paper Trails
Thesis
Visual Art
M.F.A.
na
This item does not meet KU Open Access policy criteria.
oai:kuscholarworks.ku.edu:1808/41462018-01-31T20:08:08Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Katz, Cima
Timmer, Betsy Jo
Carter, Carol Ann
Luoma, Alison
2008-09-08T01:49:04Z
2008-09-08T01:49:04Z
2008-04-23
2008
http://dissertations.umi.com/ku:2433
http://hdl.handle.net/1808/4146
"Embodiment" is a MFA Thesis Exhibition made up of several mixed media objects fashioned from fabric, wool felt, and domestic tools. By combining carefully chosen materials to reference the human form and employing humor and gesture, the objects become characters with which the audience and I can identify. Using historically feminine materials and techniques to discuss the roles of women in culture connects me to a rich tradition of feminist artists working to voice female concerns. Each piece I create is provoked by the stress, busyness and endless demands of the non-stop, bigger, better, faster culture of excess in which I find myself daily-- specifically the demands facing women. In endless pursuit of unrealistic goals, women run themselves ragged, hate their bodies, abuse themselves, and feel like failures. I create characters that serve as catalysts, ideally sparking a thorough examination and evaluation of our culture, its demands, and ourselves.
30 pages
EN
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Fine arts
Embodiment
Thesis
Art
M.F.A.
na
This item does not meet KU Open Access policy criteria.
oai:kuscholarworks.ku.edu:1808/258092018-01-31T23:29:56Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Preston, Catherine Lee
Glushneva, Iuliia
Miner, Joshua D.
Wilson, Ron
2018-01-30T03:14:52Z
2018-01-30T03:14:52Z
2017-05-31
2017
http://dissertations.umi.com/ku:15293
http://hdl.handle.net/1808/25809
Since the early 1990s, film theorists have been particularly interested in the studies of film experience and relations between viewers and films. In contrast to the classical and post-1960s film studies of spectatorship, recent film theory has made a substantial contribution to the development of phenomenological perspectives on the film viewing, engaging concepts, and methods rooted in the philosophies of Edmund Husserl and Maurice Merleau-Ponty. The phenomenological endeavor has served as an alternative epistemological paradigm competing with established theoretical approaches to questions about how to study the film experience and what constitutes the nature of film spectatorship. This paradigm marks a shift from thinking of the viewer as an ideal, abstract subject to thinking of him/her as an embodied, material agent whose existence represents the integral whole with the film and the world as such. While acknowledging the diversity and hybridity of film phenomenology, this thesis focuses on the sociocultural, heuristic and philosophical foundations underlying the entire phenomenological project in contemporary film studies. It examines film phenomenology not as a complete “Grand” theory of film experience but as a specific methodology and model of philosophizing, which challenge ocularcentrism, rationalism, the body-mind and the subject-object dichotomies of the previous film theories and Western epistemologies in general. By investigating the intellectual heritage of philosophical phenomenology and such basic phenomenological notions as experience, intentionality, reduction, and description, this study aims to delineate and clarify the fundamental strategies employed by film phenomenology in the exploration of cinematic experience. The emphasis on these strategies and central assumptions of film phenomenology is motivated by the desire to uncover the cultural and research potential of the phenomenological project which often seems to be obscure and ambiguous, and for this reason irrelevant.
94 pages
en
University of Kansas
Copyright held by the author.
openAccess
Film studies
contemporary film theory
corporeality
embodiment
existential philosophy
film phenomenology
spectatorship
Embodied Spectatorship: Phenomenological Turn in Contemporary Film Theory
Thesis
Film & Media Studies
M.A.
oai:kuscholarworks.ku.edu:1808/97802020-07-14T12:49:39Zcom_1808_1260com_1808_7799col_1808_1952col_1808_13991
Falicov, Tamara
Graves, Michael
Baym, Nancy
Berg, Chuck
Preston, Catherine
Tibbetts, John
2012-06-03T15:25:39Z
2012-06-03T15:25:39Z
2011-12-31
2011
http://dissertations.umi.com/ku:11896
http://hdl.handle.net/1808/9780
In the age of media convergence, transmedia storytelling - the distribution of story elements across multiple media platforms in the service of crafting an overarching narrative - is increasingly prevalent. This dissertation examines transmedia engagement through a focus on Lost's transmedia storytelling franchise and a confluence of technological, industrial, and cultural shifts, including the advent of podcast technologies, the rise of alternate reality game storytelling, and increasing producer-audience communication. Taken together, these transformations create new terrain on which normative understandings of producer-text-audience relationships are continually challenged, reconfigured, and even reinforced. This dissertation views these relationships through the concept of "viewsing" (Harries, 2002) - a hybrid form of engagement encouraged by transmedia storytelling franchises in which the qualities of "viewing" and "computer use" merge. Although viewsing provides an important conceptual framework, previous scholarship stops short of applying to concept to the producer-audience and audience-audience relationships. Using a thematic analysis methodology, this study examines the fan cultures surrounding two podcasts dedicated to Lost - The Official Lost Podcast and The Transmission - and expands the concept of viewsing to include text-audience interactivity, producer-audience participatory storytelling, and audience-audience collaboration and antagonism. It concludes that transmedia storytelling franchises encourage viewsing - interactive, participatory, and communicative multi-platform engagement.
288 pages
en
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Film studies
Engagement
Lost
New media
Television
Transmedia
Viewsing
Lost in a Transmedia Storytelling Franchise: Rethinking Transmedia Engagement
Dissertation
Film & Media Studies
Ph.D.
na
This item does not meet KU Open Access policy criteria.
7643154
oai:kuscholarworks.ku.edu:1808/223792018-01-31T20:07:52Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Willmott, Kevin
Unruh, Isley Demetrius
Wilson, Ron
Hurst, Robert
2017-01-02T21:15:09Z
2017-01-02T21:15:09Z
2016-08-31
2016
http://dissertations.umi.com/ku:14727
http://hdl.handle.net/1808/22379
While the criminals found in classic American crime films take many forms, from frontier outlaws to big city gangsters, they all serve, on some level, as surrogates for audiences’ darker impulses and desires. And, while these criminal characters have undergone many changes and permutations, a small cycle of gangster films from the early 1930s have come to disproportionately represent a broad period of classic Hollywood crime films. Little Caesar (1930), The Public Enemy (1931), and Scarface (1932) have dominated the discourse surrounding the classic American crime film to such a degree that important variations on the criminal character can become generically linked to these early films even though their defining qualities are, in reality, quite different. In this study, I will examine one criminal variation which I have labeled the “Doomed Criminal.” I will both disentangle this unique Doomed Criminal archetype from the influence of pre-Code characterizations, and determine the significant factors which led to the development of this new character that appeared in a cycle of films throughout the 1940s. Also, by first situating the Doomed Criminal within the socio-historical framework of its time, I will establish the proper background for a focused look at the authorial contributions of W. R. Burnett and John Huston to the Doomed Criminal. Both of these creators were responsible for the three films I use as case studies in my textual examination of the character: High Sierra (1941), This Gun for Hire (1942), and The Asphalt Jungle (1950). By giving each of these three films a close textual analysis, I will be able to illuminate and support the traits identified as unique to this character throughout this study. This multi-pronged approach will ultimately reveal a distinct character archetype that was noble, professional, competent, and, above all, doomed to alienation and death within a world in which it had no place.
96 pages
en
University of Kansas
Copyright held by the author.
openAccess
Film studies
Asphalt Jungle
Burnett
Crime film
Gangster film
High Sierra
John Huston
Rushing Towards Death: Alienation and Doom in the 1940s American Crime Film
Thesis
Film & Media Studies
M.A.
oai:kuscholarworks.ku.edu:1808/41972020-07-21T15:45:01Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Bial, Henry
Kepley, Susanne
Fischer, Iris
Leon, Mechele
2008-09-15T04:32:41Z
2008-09-15T04:32:41Z
2008-07-29
2008
http://dissertations2.umi.com/ku:2601
http://hdl.handle.net/1808/4197
This thesis explores the legacy of silence that surrounds Sophie Treadwell and her work. It does so by investigating the abundant and poetic stage directions she provides within her play "Machinal".
57 pages
EN
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Theater
MACHINAL: SILENCE, STAGE DIRECTIONS AND SOPHIE TREADWELL
Thesis
Theatre & Film
M.A.
na
This item does not meet KU Open Access policy criteria.
6857343
oai:kuscholarworks.ku.edu:1808/106682018-01-31T20:08:11Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Westergard, Gina
Stella Salisbury, Carol Anne
Havener, Jon
Stanionis, Lin
Carter, Carol Ann
2013-01-20T17:05:50Z
2013-01-20T17:05:50Z
2012-05-31
2012
http://dissertations.umi.com/ku:12138
http://hdl.handle.net/1808/10668
Abstract Textus, my Master of Fine Arts thesis exhibition, is a body of work in diverse media. Within it, Spiral, a sculptural piece, reflects my background in metalsmithing and jewelry design. There are also seven digital prints/drawings and a digital animation, which depart from my metal work. In Textus I employ words in text as metaphor for our inability to grasp the complexities of existence. We use text as a response to our existential predicament; it is as limited as our biology. I believe we are biologically driven to search for knowledge, yet our biology sets the limits of exploration.
20 pages
en
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Fine arts
Biology
Digital animation
Digital prints/drawing
Jewelry
Master of fine arts
Metalsmith
Textus
Thesis
Visual Art
M.F.A.
na
This item does not meet KU Open Access policy criteria.
oai:kuscholarworks.ku.edu:1808/106702018-01-31T20:08:10Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Hartman, Tanya
Sebelius, John
Jordan, Luke
Velasco, Maria
2013-01-20T17:09:05Z
2013-01-20T17:09:05Z
2012-05-31
2012
http://dissertations.umi.com/ku:11990
http://hdl.handle.net/1808/10670
Exploring my own identity and voice within diverse subcultures has become essential in my current artistic practice and process. My aim is to visually explore lived experience amongst culturally rich communities, without judgment or expectations. I recently returned from the 71st Annual Sturgis Motorcycle Rally in South Dakota, which had an attendance of 600,000 riders. In an effort to immerse myself in the biker culture, I camped out for seven days at the rally. The constant rumble of motorcycles has faded from my ears but remain in my mind unsettlingly. After this experience I was left with a mind full of imagery but an intellect filled with questions. My most recent work investigates my connection and exploration of this masculine culture and the individuals I lived amongst.
13 pages
en
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Fine arts
America
Biker
Class
Installation
Painting
Sturgis
100 Questions About Sturgis
Thesis
Visual Art
M.F.A.
na
This item does not meet KU Open Access policy criteria.
oai:kuscholarworks.ku.edu:1808/218722018-01-31T20:07:51Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Hartman, Tanya
McKenna, Edward Patrick
Akers, Norman
Brackett, David
Pultz, John
2016-11-10T22:50:51Z
2016-11-10T22:50:51Z
2016-05-31
2016
http://dissertations.umi.com/ku:14654
http://hdl.handle.net/1808/21872
Extant Fragments explores the social context of the artist’s studio space and the importance of developing an art making process that is personal. The studio becomes a metaphor for the confines of daily life and the art making process a metaphor for ritualistic and behavioral patterns. In exploring a litany of qualitative and perceptual experiences within the artist’s social space, it is the present materials that are addressed and reassessed – incessantly and obsessively – the ‘left-overs’, the minutia, bits and scraps, detritus... This process of dealing ONLY with what is presently available leads to a profound self-discovery: to examine ones process of art making is a way to remain invested in the present. What exists’ in the present are [the few] historical remnants – Extant Fragments.
14 pages
en
University of Kansas
Copyright held by the author.
openAccess
Fine arts
Art criticism
Abstract
Assemblage
Conceptual-Personal
Extant
Fragments
Painting
Extant Fragments
Thesis
Visual Art
M.F.A.
oai:kuscholarworks.ku.edu:1808/142002020-10-22T13:59:52Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Reaney, Mark
Xu, Yue
Ringer, Delores
Gronbeck-Tedesco, John
2014-06-18T03:37:59Z
2014-06-18T03:37:59Z
2013-12-31
2013
http://dissertations.umi.com/ku:13021
http://hdl.handle.net/1808/14200
Computer aided design for 19th Century French opera The Tales of Hoffmann by Jacques Offenbach. The opera was first performed on 10 February 1881 in France. Computer applications and a pen tablet have been used for the scenic, costume and lighting renderings.
90 pages
en
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Theater
Design
Opera
Scenography
Scenography for The Tales of Hoffmann
Thesis
Theatre
M.F.A.
na
This item does not meet KU Open Access policy criteria.
8086537
oai:kuscholarworks.ku.edu:1808/106442018-01-31T20:08:10Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Velasco, Maria
Hoffman, Nathan
Brackett, David
Vertacnik, David
Haaheim, Kip
Katz, Cima
2013-01-20T15:59:00Z
2013-01-20T15:59:00Z
2012-05-31
2012
http://dissertations.umi.com/ku:12146
http://hdl.handle.net/1808/10644
There comes a point where I feel too comfortable in my surroundings, where I know what's around the corner at my every turn. I become paralyzed in monotony. I feel the need to travel to a foreign place and become lost in exoticism in order to rediscover my inspirations and self. In the past few years I have taken trips to specific places that put me under a kind of spell where I feel adrift in another world, where time and reality are transformed. Doing so awakens my spirit that yearns to travel and explore, to experience something new, strange and beautiful. I feel a revival of the self. Microcosmical is an attempt to create an exotic fantastical enigmatic landscape that allows the viewer to leave behind the routine of everyday life and be lost in the moment. The installation consists of seven tubular shapes that resemble various parts of the human anatomy, along with numerous tiny barnacle and starfish-like pieces that inhabit the space from floor to ceiling. Sounds, smells, fog, and colored lights are also utilized to enrich the environment of the gallery. The installation provides a place of wonder and awe, life, death, and disease. I want my viewer to be taken to a place of uncertainty where their curiosity enables them to make connections between the pieces and their own lives. When the viewer leaves the installation they will reenter the everyday world, but will take with them an experience out of the mundane.
25 pages
en
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Fine arts
Environment
Installation
Mysterious
Nature
Sculpture
Sound
Microcosmical
Thesis
Visual Art
M.F.A.
na
This item does not meet KU Open Access policy criteria.
oai:kuscholarworks.ku.edu:1808/218102018-01-31T20:07:51Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Hartman, Tanya
Beall, Carrie Beth
Kaminski, Megan
Krueger, Michael
2016-11-03T23:25:02Z
2016-11-03T23:25:02Z
2016-05-31
2016
http://dissertations.umi.com/ku:14626
http://hdl.handle.net/1808/21810
Abstract Hard to Say is an installation comprised of four artist’s books that are displayed in a fabricated living room environment that includes wood laminate floors, comfortable chairs, a coffee table, a rug, end tables, and warm lamplight. All elements of the installation were either bought second-hand or borrowed from local friends. The exhibition is named after the primary work in the show entitled Hard to Say, an illustrated memoir. The memoir illustrates the author’s personal history through eight separate sections that utilize handwritten text, photographs, and hand drawn elements. These elements were combined digitally and printed in an edition of twelve full-color hardback books. In addition, the installation featured an edition of 50 comic book style zines, a legal pad inspired participatory book of paper airplane instructions, and a hand assembled photo album of photos from the artist’s childhood.
23 pages
en
University of Kansas
Copyright held by the author.
openAccess
Fine arts
Creative writing
Book Arts
Expanded Media
Installation
Memoir
Hard to Say
Thesis
Visual Art
M.F.A.
oai:kuscholarworks.ku.edu:1808/69892020-08-06T12:39:12Zcom_1808_1260com_1808_7799col_1808_1952col_1808_13991
Preston, Catherine
Faucette, Michael Brian
Tibbetts, John
Bial, Henry
Gronbeck-Tedesco, John
Takeyama, Akiko
2011-01-03T03:24:34Z
2011-01-03T03:24:34Z
2010-05-19
2010
http://dissertations.umi.com/ku:10966
http://hdl.handle.net/1808/6989
This dissertation examines the stardom, characters, and and shifting nature of the styles of masculinities enacted by Paul Muni, George Brent, Dick Powell, and Errol Flynn's characters in the films produced during their tenure at Warner Bros. in the 1930s. This study argues that the styles of masculinities in operation on the Warner Bros. lot were in fact more complex and contradictory than previous studies have acknowledged. Robert Sklar argues that the dominant type of masculinity represented by the studio was that of the "city boy." However in examining the films, fan magazines, movie reviews and studio records from the period dealing with Muni, Brent, Powell, and Flynn what is evident is that crafting a unified stable masculine screen presence for each of these men was something that the studio was unable to achieve. The dissertation uses elements of "whiteness," as well as gender, and class to look at how each of these four men and their characters represented an image of American masculinities during the 1930s that attempted to model the various experiences and frustrations of men as a result of the Great Depression.
313 pages
en
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Film studies
Gender studies
1930s
Film
Hollywood
Masculinity
Stardom
Warner Bros.
Warner Bros. Forgotten Men: Representations of Shifting Masculinities in 1930s Hollywood
Dissertation
Film & Media Studies
Ph.D.
na
This item does not meet KU Open Access policy criteria.
7642670
oai:kuscholarworks.ku.edu:1808/218902018-01-31T20:07:51Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Krueger, Michael
Raymer, Mark Alister
Brackett, David
Burke, Matthew
2016-11-10T23:16:15Z
2016-11-10T23:16:15Z
2016-01-01
2016
http://dissertations.umi.com/ku:14621
http://hdl.handle.net/1808/21890
Wild Yonder is a body of large mixed media, collage wall hangings made from scrapes fabric, textiles, prints, drawings, and rubbings. All these elements come together to form a post-apocalyptic world in each piece, populated by scooters, beer cans, satellites, and wild people called wildings. The artwork deals with themes of environmentalism, and legacy by way of a science fiction narrative.
21 pages
en
University of Kansas
Copyright held by the author.
openAccess
Fine arts
Art
Environmental
MFA
Raymer
Science Fiction
Wild Yonder
Wild Yonder
Thesis
Visual Art
M.F.A.
oai:kuscholarworks.ku.edu:1808/116932020-10-05T13:30:43Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Jordan, Mary A
Mahoney, Whitney
Nam, Yoonmi
Brackett, David
2013-08-24T20:52:02Z
2013-08-24T20:52:02Z
2013-05-31
2013
http://dissertations.umi.com/ku:12750
http://hdl.handle.net/1808/11693
The following is a written thesis of the concepts and visual aspects of Whitney Mahoney's MFA thesis exhibition, installed at the University of Kansas Art and Design Gallery from February 17-22, 2013. The exhibition, Makeshift Mendings, is a suspended fabric barrier constructed using a variety of hand-stitched white cotton fabrics. Stitches were pulled and manipulated to create a smocked rippling texture. The work spanned the length of the gallery and was suspended from the gridded gallery ceiling using clothesline and pulleys. The clothesline ends were attached to the wall using cleats and weighted down to the floor using a combination of handmade sandbags and worn bricks.
13 pages
en
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Fine arts
Textiles
Visual art
Makeshift Mendings
Thesis
Visual Art
M.F.A.
na
This item does not meet KU Open Access policy criteria.
8086277
oai:kuscholarworks.ku.edu:1808/70142018-01-31T20:08:05Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
McCrea, Judith
Hansen, Amber Elizabeth
Park, So Yeon
Krueger, Michael
2011-01-03T04:35:37Z
2011-01-03T04:35:37Z
2010-04-30
2010
http://dissertations.umi.com/ku:10742
http://hdl.handle.net/1808/7014
Prison Songs is an installation of drawings and videos portraying the artist's struggle in reassessing the value of innate knowledge and cultured thinking. Simple line drawings from the artist's childhood are combined with learned and practiced modes of pictorial representation. By mixing the thoughts and styles of different time periods, the artist creates a layering of consciousness and motivations. The videos are extrapolations of simple childhood actions representing different modes of understanding experienced throughout the artist's life.
12 pages
en
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Art criticism
Experimental psychology
Women's studies
Culture
Drawing
Knowledge
Painting
Power
Video
Prison Songs
Thesis
Art
M.F.A.
na
This item does not meet KU Open Access policy criteria.
oai:kuscholarworks.ku.edu:1808/195492018-01-31T20:07:54Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Swindell, Jon K
DiPiazzo, Denise
Hartman, Tanya
Hachmeister, John
Atchley, Ruth Ann
2016-01-03T03:40:12Z
2016-01-03T03:40:12Z
2014-12-31
2014
http://dissertations.umi.com/ku:13791
http://hdl.handle.net/1808/19549
Hairball is a metaphor for life as an accumulation of things, good and bad, over time: years, people, ambitions, loves, fears, and cells. Whereas time is typically thought of as linear, in truth it winds in many directions through our lives, sometimes densely and sometimes loosely, and usually uncontrollably. Sometimes it's hard just to live. Tricycle in the ocean Tricycle in the ocean Tricycle in the ocean This work was conceived from the idea of one person, the counsel of a few, and the hands of many. It was structured specifically on a large scale so the artist would be pushed beyond her physical and mental comfort zones and thereby be compelled to seek help from others. To surmount this challenge, a dynamic community of helpers was created and, through their partnership and care, Hairball was allowed to manifest organically into a fully-formed behemoth of darkness and light.
28 pages
en
University of Kansas
Copyright held by the author.
openAccess
Fine arts
Community Involvement
Illness
Sculpture
Hairball
Thesis
Visual Art
M.F.A.
oai:kuscholarworks.ku.edu:1808/106372018-01-31T20:08:10Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Nam, Yoonmi
Schneiderman, Henry
Bitters, Shawn
Velasco, Maria
2013-01-20T15:49:34Z
2013-01-20T15:49:34Z
2012-05-31
2012
http://dissertations.umi.com/ku:12149
http://hdl.handle.net/1808/10637
i have big feelings attempts to bring into conversation several influential modes of thought in contemporary transnational, feminist, queer, and affective critical theory. The exhibition comprises an installation of larger-than-life-size aluminum mesh disproportioned bodies suspended in a web of strings, and a suite of monotype prints describing similarly disfigured subjects, all grappling with relationality. My methodology in this effort is informed by the conceptual underpinnings and sensibility afforded me by a printmaking background, and the work itself seeks to play expansively with printmaking to the point of frayed medium specificity. The show relies on a building up of layers to put disparate ideas into conversation with each other and highlights the moment of encounter as a constitutive force. The work raises questions around communitarian and relational interaction and the constitutive effects of discourse and encounter. Through minoritarian performances, it seeks to escape the totalizing present of modernity and to locate utopian openings in modernist discourse through the mining for traces of a queer past in the present.
22 pages
en
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Fine arts
i have big feelings
Thesis
Visual Art
M.F.A.
na
This item does not meet KU Open Access policy criteria.
oai:kuscholarworks.ku.edu:1808/69542018-01-31T20:08:11Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Unruh, Delbert
Grim, Elizabeth Lynn
Ringer, Delores
Christilles, Dennis
Bial, Henry
2010-12-31T04:09:18Z
2010-12-31T04:09:18Z
2010-04-27
2010
http://dissertations.umi.com/ku:10883
http://hdl.handle.net/1808/6954
Thomas Middleton's 1609 satiric tragedy The Revenger's Tragedy, as the title suggests, deals with revenge, as well as wider themes including material consumption, institutional corruption, and defining characteristics of human depravity. This scenographic design thesis deals with the themes of the play through costume, set, and lighting. Costumes explore the satiric human depravity by abstracting the characters faces and putting the costume of historic figures on their head. Scenic elements explore the institutional corruption, specifically judicial corruption, and the lighting elements define and highlight those themes. Supplementary materials include costume renderings, costume plots, costume list, scenic renderings, scenic draftings, scenic paint breakdown, light story board, light plot, magic sheet, dimmer hook-up, color cut list, and instrument schedule.
37 pages
en
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Theater
Caricature
Corruption
Depravity
Institutions
Lechery
Satire
The Revenger's Tragedy
Thesis
Theatre
M.F.A.
na
This item does not meet KU Open Access policy criteria.
oai:kuscholarworks.ku.edu:1808/263302018-04-24T18:52:16Zcom_1808_1260com_1808_7799col_1808_1952col_1808_13991
Halegoua, Germaine R
Hodel, Christina Hereiti
Preston, Catherine
Wilson, Ronald
Miner, Joshua
Doan, Alesha
2018-04-20T22:07:16Z
2018-04-20T22:07:16Z
2017-05-31
2017
http://dissertations.umi.com/ku:15098
http://hdl.handle.net/1808/26330
Conformity messaging and subversive practices potentially harmful to healthy models of feminine identity are critical interpretations of the differential depiction of the hiding and usage of tween girl characters’ extraordinary abilities (e.g., super/magical abilities and celebrity powers) in Disney Channel television sitcoms from 2001-2011. Male counterparts in similar programs aired by the same network openly displayed their extraordinariness and were portrayed as having considerable and usually uncontested agency. These alternative depictions of differential hiding and secrecy in sitcoms are far from speculative; these ideas were synthesized from analyses of sitcom episodes, commentary in magazine articles, and web-based discussions of these series. Content analysis, industrial analysis (including interviews with industry personnel), and critical discourse analysis utilizing the multi-faceted lens of feminist theory throughout is used in this study to demonstrate a unique decade in children’s programming about super powered girls. This research is invested in answering questions about how and why this decade of gendered programming was constructed and its impact on television’s portrayal of female youth. To address these issues, close study of dialogue and action via textual analysis, and application of insights from socioeconomic and historical perspectives elucidate the antics surrounding the hiding and misappropriation of extraordinary power by young girl role models. In addition, such methodologies reveal much about the attitudes of the creators of these programs (mostly white, middle-aged, Western, heterosexual males). What is discerned from scripted material on the motivations behind elaborate attempts to hide the extraordinary are the meanings disseminated from the female subject-position representations in these blockbuster sitcoms that reveal despite Disney’s progress towards creating empowered girls, the network is at best locked into tradition.
237 pages
en
University of Kansas
Copyright held by the author.
openAccess
Film studies
Gender studies
Children
Disney
Gender
Girls
Power
Television
SECRET SUPERSTARS AND OTHERWORLDLY WIZARDS: Gender Biased Hiding of Extraordinary Abilities in Girl-Powered Disney Channel Sitcoms from the 2000s
Dissertation
Film & Media Studies
Ph.D.
oai:kuscholarworks.ku.edu:1808/53612020-07-23T15:01:53Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Katz, Cima
Kligman, Mikhail
Hartman, Tanya
Burke, Matthew
2009-08-07T14:23:43Z
2009-08-07T14:23:43Z
2009-06-02
2009
http://dissertations.umi.com/ku:10319
http://hdl.handle.net/1808/5361
Mouthful Of Silence is an MFA Thesis Exhibition comprised of mixed media drawings, paintings and an installation. The work in the exhibition examines the ideas of home and cultural belonging through the lens of the Jewish Diaspora's history in the Soviet Union. The drawings and paintings reference personal, as well as historical photographs. By incorporating symbolically rich materials such as ash, gold and salt, the images are transformed from mere nostalgic artifacts to containers of cultural memory. "Mouthful Of Silence" highlights the significance of memory as an important part of one's cultural identity. Specifically, during emigration when one's identity can be destabilized by the trauma of the experience, memory can serve as a reminder of cultural belonging. The exhibitions attempts to put a human face on the often invisible agony of a lost home, and the emigrant struggle between the inability to forget and the pain of remembering.
24 pages
EN
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Fine arts
Contemporary
Immigrants
Jewish
Memory
Russian
Trauma
Mouthful Of Silence
Thesis
Art
M.A.
na
This item does not meet KU Open Access policy criteria.
6857562
oai:kuscholarworks.ku.edu:1808/145862018-01-31T20:08:06Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Burke, Matthew
Swindell, Jon Keith
Oxnard, John Thomas
Burke, Matthew
Swindell, Jon Keith
Krueger, Michael
2014-07-05T17:53:54Z
2014-07-05T17:53:54Z
2014-05-31
2014
http://dissertations.umi.com/ku:13434
http://hdl.handle.net/1808/14586
your words Abstract. Tending, a Masters of Fine Art Exhibition, is a exhibition that highlights the importance of trees and plants in the art and craft of my everyday life. The manifestation of this idea became an installation of a sculptural landscape that evoked in the audience a sense of awe and confusion, followed by clarity, and tranquility. The exhibition is comprised of sod-grass, bamboo, plants in pots, bonsai trees, a repurposed compressor tank, a shoddily put together table and a stucco alcove. The intention for this show is to reconnect with nature through the growing and nurturing of plants and trees. In expressing my passion for growing these plants, I hope to communicate to my audience the importance of nurturing the relationship we have with nature and the significance of self-reflection in art and in life.
12 pages
en
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Fine arts
Art landscape
Bonsai
Ceramic
Living sculpture
Tranquility
Water
Tending
Thesis
Visual Art
M.F.A.
na
This item does not meet KU Open Access policy criteria.
oai:kuscholarworks.ku.edu:1808/64332020-08-04T13:07:16Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Stanionis, Lin
Blackburn, Mollie Kathleen
Hartman, Tanya
Havener, Jon
2010-07-25T22:43:43Z
2010-07-25T22:43:43Z
2010-04-29
2010
http://dissertations.umi.com/ku:10930
http://hdl.handle.net/1808/6433
Ardent Notions is an installation of objects that form a personal narrative expressing my points of origin, current passions and future hopes. I employ self-specific imagery referencing family, home and partnership to convey the very essence of my `tiny human heart.' I want the viewer to form connections with subject matter concerning mapping, place, relationships, womanhood, love and the cyclical nature of life. As a contemporary metalsmith and jeweler, I work intuitively combining both ancient and modern techniques to create pieces that translate the collected mementos of my life into wearable art objects. Employing circular forms that reference the cyclical nature of life, I create pieces that contain personal sanctuary. My design aesthetic is driven by the challenge to successfully amalgamate hobbyist materials with precious metals mined from the veins of Earth. Garden iconography and architectural structures are used to surround and protect my heart within a nurturing environment.
12 pages
EN
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Fine arts
Jewelry
Metalsmith
Personal narrative
Stackable wearables
Womanhood
Ardent Notions: a contemporary Everywoman's essence examined
Thesis
Visual Art
M.F.A.
na
This item does not meet KU Open Access policy criteria.
7078863
oai:kuscholarworks.ku.edu:1808/218162018-01-31T20:07:47Zcom_1808_1260com_1808_7799col_1808_1952col_1808_13991
Bial, Henry
Boyle, Amanda Jan
Rovit, Rebecca
Hodges Persley, Nicole
Lewis, Adrian
Barnette, Jane
2016-11-03T23:38:51Z
2016-11-03T23:38:51Z
2016-05-31
2016
http://dissertations.umi.com/ku:14655
http://hdl.handle.net/1808/21816
This dissertation is a study of Vietnam War veteran narratives and how they are presented on stage. I argue that these plays are a form of commemoration of the Vietnam War and those who fought in it. I examine three plays: Medal of Honor Rag (1976) by Tom Cole, Still Life (1982) by Emily Mann, and Tracers (1983) by John DiFusco, et al. There are hundreds of plays and musicals written directly about the war. Through a dramaturgical methodology I combine textual analysis, production research, interviews with two of the three playwrights, academic scholarship on the plays, my own staged reading of Still Life in February 2015, and select oral/written histories from Vietnam veterans to illustrate how the plays function as commemorative-storytelling of the veteran experience. Each chapter is a dramaturgical case study that could be used for production. The plays each have a wide range of topics, motifs, and themes, many of which I address, including the overlapping themes of wounding (moments of injury and psychological repercussions), coming home (surviving the war and returning home), and commemorating (via medals and memorials).
261 pages
en
University of Kansas
Copyright held by the author.
openAccess
Theater
Theater history
Military history
Documentary Theatre
Memorial
Performance
Playwrights
Veteran
Vietnam War
MEN, MEMORY, AND MEMORIAL: VIETNAM VETERAN THEATRICAL NARRATIVES
Dissertation
Theatre
Ph.D.
oai:kuscholarworks.ku.edu:1808/188602020-06-24T18:52:12Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Levins Boyd, Maureen
2015-11-09T18:55:28Z
2015-11-09T18:55:28Z
1993
http://hdl.handle.net/1808/18860
Thesis (M.A.)--University of Kansas, Theatre and Film, 1993. Includes bibliographical references (leaves 84-86)
This thesis uses feminist criticism as a means of shedding new light on the Irish political, social, and cultural issues in Sean O'Casey's plays. While traditional critical analysis has often viewed the O'Casey female construct as a symbol of virtue and tenacity, the present study defines these characters more in terms of their patriarchal objectification.
en
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Feminist theory
O'Casey, Sean, 1880-1964
Mothers, martyrs, wives, and whores : toward a new feminist theory of Sean O’Casey’s gender constructs
Thesis
Theatre & Film
M.A.
This item does not meet KU Open Access policy criteria.
1532116
oai:kuscholarworks.ku.edu:1808/186332018-01-31T20:07:54Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Rovit, Rebecca L.
Bubna, Susan Clark
Gronbeck-Tedesco, John
Bennett, Leslie
2015-10-12T22:26:19Z
2015-10-12T22:26:19Z
2013-05-31
2013
http://dissertations.umi.com/ku:12631
http://hdl.handle.net/1808/18633
Life in a Jar
75 pages
en
University of Kansas
Copyright held by the author.
openAccess
Theater
Educational leadership
Holocaust studies
Historical Archive
Irena Sendler
Life in a Jar
Michael Rothberg
Rescuer of Jewish children
Warsaw Ghetto
Life in a Jar: The Performative Efficacy of the Embodied Historical Archive
Thesis
Theatre
M.A.
oai:kuscholarworks.ku.edu:1808/145452018-01-31T20:08:11Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Westergard, Gina
Cheong, Sunyoung
Havener, Jon
Stanionis, Lin
Jordan, Mary Anne
2014-07-05T16:33:59Z
2014-07-05T16:33:59Z
2014-05-31
2014
http://dissertations.umi.com/ku:13380
http://hdl.handle.net/1808/14545
Wearable Play, an Master of Fine Art thesis exhibition, is comprised of eight sets of wearable jewelry and an interactive installation that were inspired by children's building toys. It is my confluence of being a mother and being an artist. As a result, this exhibition attempts to generate human interaction and to create a platform where people can engage in art. My goal was to create an environment similar to a children's museum, where visitors are invited to play and utilize their imagination. It is a place where the audience can bring their inner child to play. By assembling their own wearable objects, the audience participates in a performance, and their creations become a powerful component of the exhibition.
14 pages
en
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Fine arts
Art to wear
Contemporary jewelry
Interactive installation
Wearable art
Wearable object
Wearable Play
Thesis
Visual Art
M.F.A.
na
This item does not meet KU Open Access policy criteria.
oai:kuscholarworks.ku.edu:1808/270112018-10-25T20:34:47Zcom_1808_1260com_1808_7799col_1808_1952col_1808_13991
Baskett, Michael
Ogawa, Sho
Halegoua, Germaine
Preston, Catherine
Schofield, Ann
Takeyama, Akiko
Wilson, Ron
2018-10-24T22:24:51Z
2018-10-24T22:24:51Z
2017-12-31
2017
http://dissertations.umi.com/ku:15668
http://hdl.handle.net/1808/27011
This dissertation examines the gay boom in the Japan, where various media from magazines, novels, television shows, to feature films reported on and represented male homosexuality in scale that was unprecedented and is unmatched to the present. The number of reports and narratives on male homosexuality reached its peak during 1991 to 1994, when Japan was facing numerous social changes such as the burst of the economic bubble, recognition of social stratification, shifts in women’s roles in the family, and increased promotion of Japan’s internationalization. The Japanese media’s production of gay male images was shaped by these social changes and the anxieties, producing an idealized gay subject who can respond to these situations and produce a new set of norms that govern the alternative social formations. This is not to say that gay men were universally accepted in the Japanese media, but through various conflicting representational modes of exoticization, celebration, abjection, and domestication of gay men, the Japanese media defined which subjects would be granted visibility for straight consumers. The gay boom’s grafting of the gay man’s lifestyle into matters of the family, class, and the national body were comprised of a complex set of negotiations, which often obscured and alleviated the issues faced by recessionary Japan. This process of commodification of gay images championed the fashionable, hybrid gay subject, which resulted in the exclusion of the unfashionable, uneducated, uncultured, rural lives, and the less wealthy.
211 pages
en
University of Kansas
Copyright held by the author.
openAccess
Film studies
LGBTQ studies
Women's studies
consumerism
film
gay boom
homosexuality
Japan
multiculturalism
Producing Gayness: The 1990s “Gay Boom” in Japanese Media
Dissertation
Film & Media Studies
Ph.D.
oai:kuscholarworks.ku.edu:1808/117082020-10-01T13:52:33Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Westergard, Gina
Smith, Damia Victoria
Velasco, Maria
Stanionis, Lin
Jordan, Mary Anne
2013-08-24T22:14:57Z
2013-08-24T22:14:57Z
2013-05-31
2013
http://dissertations.umi.com/ku:12806
http://hdl.handle.net/1808/11708
Projection...identification...empathy consists of an installation of body-size, wearable objects and videos of performers wearing the objects. Two live performances add another layer of substance to the pieces already displayed. The four videos displayed in the exhibition and a video of the performance at the exhibition are available for viewing with this document. These are physical manifestations of emotional states of being which all people have experienced in some form. These linear, stainless steel and knitted, wool objects inhibit movement of the body and reinforce these emotional states by forcing the wearer to experience them. These flexible trap-like burdens can expand and collapse as the wearer moves within them. My goal with these pieces is to create a sense of empathy within the performers as well as the viewers who watch them.
20 pages
en
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Fine arts
Body sculpture
Installation
Performance art
Psychological struggle
Wearable art
projection...identification...empathy
Thesis
Visual Art
M.F.A.
na
This item does not meet KU Open Access policy criteria.
8086262
oai:kuscholarworks.ku.edu:1808/129432020-10-20T14:19:38Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Reaney, Mark
Wilds, Tatyana
Unruh, Delbert
Leon, Mechele
2014-02-05T15:43:13Z
2014-02-05T15:43:13Z
2013-12-31
2013
http://dissertations.umi.com/ku:13142
http://hdl.handle.net/1808/12943
This Thesis explores scenography for Dance of the Vampires (Tanz der Vampire, in German), a two act modern musical. This musical is by an American rock composer Jim Steinman, a German book by Michael Kunze, and an English translation by David Ives. The musical is based on Roman Polanski's film The Fearless Vampire Killers that was produced in 1964. Dance of the Vampires is a bittersweet Gothic ballad about love, passion and an eternal longing for immortality. Scenography is realized through set, costumes, lighting and projection designs. All designs are in Romantic Gothic style. The set for the show is an open modern space that contains limited scenery that is supported by projections. Romanian Folk clothes, Polanski's movie, and the various production of Tanz der Vampire in Germany influenced the costume designs; Marc Chagall's paintings were a source for the color palette. Lighting for the show was inspired by modern rock operas and musicals.
32 pages
en
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Theater
Design
Costume design
Gothic
Lighting design
Musical
Projections
Scenography
The Dance of the Vampires: A Gothic Ballad With a Hint of Garlic. Adaptation by Tatyana Wilds from Dance of the Vampires, a Musical by Jim Steinman
Thesis
Theatre
M.F.A.
na
This item does not meet KU Open Access policy criteria.
8086515
oai:kuscholarworks.ku.edu:1808/139902020-10-26T14:48:54Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Courtney, Gene
2014-06-11T15:56:59Z
2014-06-11T15:56:59Z
1950-05-01
http://hdl.handle.net/1808/13990
Submitted to the Department of Speech and Drama and the Faculty of the Graduate School of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts.
en
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Five Experiments in the Portrayal of Intoxication on the Stage
Thesis
Speech and Drama
M.A.
na
This item does not meet KU Open Access policy criteria.
3427977
oai:kuscholarworks.ku.edu:1808/129672020-06-26T18:47:42Zcom_1808_1260com_1808_7799col_1808_1952col_1808_13991
Preston, Catherine
Cole, Samuel Jason
Berg, Chuck
Willmott, Kevin
Tibbetts, John
Tucker, Sherrie
2014-02-05T16:20:19Z
2014-02-05T16:20:19Z
2013-12-31
2013
http://dissertations.umi.com/ku:13179
http://hdl.handle.net/1808/12967
This dissertation provides researchers with a window into the field of motion picture production from an inside-looking-out viewpoint filmmakers actively working in the field of motion picture production. Through a series of in-depth interviews, producers discuss the complexity of their roles and give first-hand accounts of what it means to be a filmmaker working outside of the corporate studio system of production. The study substantiates Bourdieu's model of the field of cultural production and shows how it is applicable to the study of producers. The study also expands previous research, helping to build a more complete account of the current state of the field of motion picture production. Producers interviewed for this study include: Ted Hope, producer of over sixty films and selected for this study because of his particular involvement as producer for the film American Splendor; Eric Gitter, who produced 2010's surprise hit Scott Pilgrim vs. the World, a film based on the mildly successful graphic novels created by Bryan O'Malley; Christine Walker, who produced over fifteen films and worked on both American Splendor and Howl, a film based on popular beat poet Allen Ginsberg; Marisa Miller Wolfson, who directed and co-produced the 2010 film Vegucated; Ben Steinbauer, director/producer of Winnebago Man; Bradley Beesley, producer of six films such as Sweethearts of the Prison Rodeo and Okie Noodling; Sarah Price, producer/director for American Movie, Summercamp and others; Tracy Droz Tragos, producer for Be Good, Smile Pretty and Rich Hill; Tim Kirk, Room 237, a film exploring the theories behind Stanley Kubrick's The Shining; Jon Betz, producer for Queen of the Sun and Seed: The Untold Story; Jon Reiss, producer of street art film Bomb It and author of Think Outside the Box Office; Stan Lee, former president and CEO of Marvel Comics and executive producer of Spider-Man, Hulk, and X-Men; and Grant Curtis, the producer for three Spider-Man films directed by Sam Raimi, as well as Raimi's Drag Me to Hell
329 pages
en
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Film studies
Bourdieu
Case study
Independent film
In-depth interviews
Motion picture
Producers
A QUALITATIVE CASE STUDY ANALYSIS OF THE CURRENT CONDITION OF NICHE MARKET, INDEPENDENT MOTION PICTURE PRODUCERS
Dissertation
Film & Media Studies
Ph.D.
na
This item does not meet KU Open Access policy criteria.
8086400
oai:kuscholarworks.ku.edu:1808/280682020-10-12T14:38:01Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Halegoua, Germaine
Green, Demetrius
Baskett, Michael
Willmott, Kevin
2019-05-19T02:34:00Z
2019-05-19T02:34:00Z
2018-12-31
2018
http://dissertations.umi.com/ku:16185
http://hdl.handle.net/1808/28068
When it comes to analyzing stereotypical representations of black masculinity in contemporary media, commercial hip-hop and the imagery associated with many of the artists is filled with caricatures of black men. The images are often a negotiation between the record label who distributes and finances the music and the artists who perform these negative tropes. On one hand the record labels cater to mainstream audiences that are familiar with negative imagery of black men and women. On the other hand, many of the artists are performing tropes of black masculinity that are linked to the social spaces and the codes of black masculinity in their environment. This linkage between hip-hop performances and the social context that perpetuates these performances is often blurred in the commercial hip-hop video. This study will employ drill music videos to analyze the linkage between space and black masculine performances in hip-hop. Drill music videos’ modes of production are similar to those found in documentary films and allows us to draw inferences about artists’ performances in relation to the social space where they are filmed. Bill Nichols’ Representing Reality: Issues and Concepts in Documentary is used as a key text when contextualizing drill music performances. Along with documentary theory, this study will use concepts presented by Michel Foucault that analyze systems of confinement and their role on producing drill music performances. The study begins with an exploration of what drill music is, a comparison with commercial hip-hop and the social context of Chicago that constructs black masculine performances. These points of emphasis culminate in my case study of one of the most prominent drill music artists, Chief Keef.
89 pages
en
University of Kansas
Copyright held by the author.
openAccess
Film studies
African American studies
Music
Black Masculinity
Chief Keef
Documentary Theory
Dril Music
Hip-Hop
Music Videos
Documenting Drill Music: Understanding Black Masculine Performances in Hip-Hop
Thesis
Film & Media Studies
M.A.
oai:kuscholarworks.ku.edu:1808/117342020-09-30T13:14:37Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Hachmeister, John
Burmood, Jacob Benton
Swindell, Jon K
Maude, Marshall
Brackett, David
2013-08-24T22:47:58Z
2013-08-24T22:47:58Z
2013-05-31
2013
http://dissertations.umi.com/ku:12787
http://hdl.handle.net/1808/11734
Abstract "In Flux" was an exploration of how energy affects and harmonizes with matter. These works were influenced by the unification of many elements into a whole, as seen in the flow of nature, dance, religion, and society as a whole. The initial materials I used were chosen based on their plasticity to quickly illustrate how tension and gravity shaped them. They were then rendered rigid with fiberglass and pigmented resin to freeze and emphasize my discoveries. Finally, the works were arranged in the gallery to create a sense of the underlying concept of unifying multiple elements into a balanced and harmonious composition.
9 pages
en
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Fine arts
Dance
Flow
Gravity
Sculpture
Tension
In Flux
Thesis
Visual Art
M.F.A.
na
This item does not meet KU Open Access policy criteria.
8086224
oai:kuscholarworks.ku.edu:1808/218572018-01-31T20:07:47Zcom_1808_1260com_1808_7799col_1808_1952col_1808_13991
Bial, Henry
Knowles, Scott Knowles
Rovit, Rebecca
Gronbeck-Tedesco, John
Hodges Persley, Nicole
Forth, Christopher
2016-11-08T23:02:49Z
2016-11-08T23:02:49Z
2016-05-31
2016
http://dissertations.umi.com/ku:14666
http://hdl.handle.net/1808/21857
"Dystopian Performatives: Negative Affect/Emotion in the Work of Sarah Kane" seeks to combine three areas of theoretical inquiry to understand the way that affect/emotion operates on an audience in the theatre: affect/emotion science, performance theory, and utopianism. Utilizing Sarah Kane’s body of work as a case study, this dissertation connects each of her plays to a distinct basic emotion in order to bracket the vast interconnections between affect/emotion science and the theatre: disgust within Blasted, anger within Phaedra’s Love, fear within Cleansed, memory within Crave, and sadness within 4.48 Psychosis. Specifically, Dystopian Performatives investigates the negatively valenced experiences that occur in the theatre as a kind of dystopian practice that seeks to critique the present and promote action to adjust the future. The dystopian performative theory demonstrates the way in which experiential and viscerally impactful moments in the theatre potentially create change within an audience that directly attacks social and cultural issues relevant to the content of Kane’s plays. The experience of affect/emotion, I argue, performatively “does,” or acts, on the body of the audience in a way that has a meaningful impact on cognition, behavior, ideology, and morality.
260 pages
en
University of Kansas
Copyright held by the author.
openAccess
Theater
Cognitive psychology
Performing arts
Affect
Dystopia
Emotion
Feeling
Performative
Sarah Kane
Dystopian Performatives: Negative Affect/Emotion in the Work of Sarah Kane
Dissertation
Theatre
Ph.D.
oai:kuscholarworks.ku.edu:1808/108642020-09-22T14:41:52Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Berg, Chuck
Lackey, Eric
Preston, Catherine
Willmott, Kevin
2013-02-17T20:28:54Z
2013-02-17T20:28:54Z
2012-12-31
2012
http://dissertations.umi.com/ku:12417
http://hdl.handle.net/1808/10864
The cinema of American filmmaker Jim Jarmusch resists many attempts at categorization. This thesis examines Jarmusch's cinema within the context of both American independent cinema studies and global art cinema studies. This is accomplished by considering Jarmusch's independent cinema as an intersection between the two areas and by linking the global to the singular case of Jarmusch. The periodization of this study is between 1980 and 2009 when Jarmusch's feature film production illustrates a conscious engagement with global art cinema. The details of how his films were financed, exhibited, and distributed, and the development of the contemporary American independent cinema scene during this time, help to establish both Jarmusch's independence and his alignment with global art cinema. The industrial framework Jarmusch established provides an economic structure that sustains his work to the present. Textual analysis of the films Dead Man (1995), Ghost Dog: The Way of the Samurai (2000), Broken Flowers (2005), and The Limits of Control (2009), reveals an approach to mise-en-scene and narrative that corresponds more closely with global art cinema than with most Hollywood films. Further, analysis of the cultural and ideological perspectives represented by these films demonstrates a critical engagement with questions of intercultural interaction and the potential benefits of the transcultural exchange of artistic production. By looking at the particular case of Jarmusch, this study addresses both the strengths and limitations of broad categories, such as American independent cinema and global art cinema, recognized and discussed by scholars, filmmakers, and general audiences, for understanding an individual filmmaker.
92 pages
en
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Film studies
Art cinema
Independent film
Jarmusch, Jim
Arbitrary Reality: The Global Art Cinema of Jim Jarmusch
Thesis
Film & Media Studies
M.A.
na
This item does not meet KU Open Access policy criteria.
8085666
oai:kuscholarworks.ku.edu:1808/76702020-08-07T14:27:24Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Stanionis, Lin
Barton, Rebecca Rose
Jordan, Mary Anne
Westergard, Gina
2011-06-21T19:27:06Z
2011-06-21T19:27:06Z
2011-04-25
2011
http://dissertations.umi.com/ku:11455
http://hdl.handle.net/1808/7670
Plants have become the focus of my artwork as a way to explain a state of being. Growing up in a highly industrialized area that lacks vegetation and scenery, I became captivated by the ephemeral nature of plant life. Using traditional metalsmithing techniques along with modern patina processes, I create pieces where plants are metaphors for my emotions and experiences. I believe people identify with the plant's life cycle, seeing a parallel in their own life. Due to this analogy, plants as metaphors, both in literary and visual symbolism, can aptly describe the changes, conditions, and stages of life. "Metamorphosis Metaphora" is an exhibition that embodies these ideas and also acts as a reflection of recent personal experiences.
11 pages
en
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Fine arts
Design
Jewelry
Metalsmith
Nature
Plants
Metamorphosis Metaphora
Thesis
Visual Art
M.F.A.
na
This item does not meet KU Open Access policy criteria.
7642850
oai:kuscholarworks.ku.edu:1808/76822020-08-07T16:22:43Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Brackett, David B
Swindell, Jon K
Kunkler, Geoffrey Steven
Vertacnik, David
Burke, Matthew
2011-06-21T20:10:27Z
2011-06-21T20:10:27Z
2011-04-27
2011
http://dissertations.umi.com/ku:11541
http://hdl.handle.net/1808/7682
Ideas about life and death have been a major source for my work since the death of my father. His loss made me question my role in life and the role of a god-creator. I chose to make a garden to set up circumstances for the contemplation of the role of god, the creator, and the cyclical nature of life and death. There is nothing more beautiful and bittersweet than being alive and loving. In my garden, I seek to understand why I was placed in this wondrous life only to suffer the inevitability of death and pain and the loss of those that I care for. I want to understand that if god has a choice, then why did he choose to put his creations through so much. In placing them, does he do so with respect, ambiguity, or detachment and to what purpose?
7 pages
en
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Fine arts
Art
Ceramics
Clay
Garden
Installation
Sculpture
Garden of the Forebearer
Thesis
Visual Art
M.F.A.
na
This item does not meet KU Open Access policy criteria.
7642842
oai:kuscholarworks.ku.edu:1808/64562020-08-04T13:45:06Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Reaney, Mark
Stroman, Caleb
Ringer, Delores
Leon, Mechele
Hayes, Michelle
2010-07-30T10:33:51Z
2010-07-30T10:33:51Z
2010-04-28
2010
http://dissertations.umi.com/ku:10929
http://hdl.handle.net/1808/6456
This thesis deals with the scenography for Christopher Marlowe's The Tragical History of the Life and Death of Doctor Faustus. The themes of the play are explored through the costume, scenic, and lighting design. Through researching the period and extensive research of devils and their depiction throughout history, the costumes were influenced. The scenic design was explored through sketches and various models, informed through prior scenic designs, and designed to represent the change of Faustus's soul throughout the play. The final design fully realized my ideas and concepts about the play and a realized production would be challenging and extremely exciting. My designs enhanced the play and would add to the audience's understanding of it.
30 pages
EN
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Theater
Design and decorative arts
Faustus
Scenography
Theatre
Scenography for Christopher Marlowe's The Tragical Life and Death of Doctor Faustus
Thesis
Theatre
M.F.A.
na
This item does not meet KU Open Access policy criteria.
7078895
oai:kuscholarworks.ku.edu:1808/40642018-11-02T17:28:14Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Bial, Henry
Sandi-Diaz, Gina
Leon, Mechele
Day, Stuart
2008-08-05T12:42:33Z
2008-08-05T12:42:33Z
2007-12-12
2007
http://dissertations.umi.com/ku:2272
http://hdl.handle.net/1808/4064
This study develops the concepts of scenario and anti-scenario through an examination of Latin American Theater for Social Change. These concepts, along with the transmission of cultural and traumatic memory in performance, help demonstrate that the Social Change movement in Latin America is not just "Brechtian-style" theater, but an original movement that developed an aesthetic of its own. This thesis focuses on the work of two Latin American artists: Brazilian theater maker Augusto Boal, and Colombian playwright and director Enrique Buenaventura. The Boal material examined in this work includes the techniques of Invisible Theater, Forum Theater and Image Theater. Buenaventura's plays considered here include three pieces from "Los Papeles del Infierno": "La tortura", "La maestra" and "La autopsia". Through an analysis of these artists' work, this thesis extends Diana Taylor's concept of scenario to include the presence of an anti-scenario. Anti-scenarios provoke debate among audiences and question social and political structures, helping to bring about social change. Also, through the transmission of cultural and traumatic memories, Theater for Social Change revisits social traumas, reminding audiences of the faults of our society and challenging us to work for greater social and economic justice.
115 pages
EN
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Theater
Theater for social change
Augusto boal
Enrique buenaventura
Los papeles del infierno
Theater of the oppressed
Nuevo teatro
LATIN AMERICAN THEATER FOR SOCIAL CHANGE: THE CASE OF AUGUSTO BOAL AND ENRIQUE BUENAVENTURA
Thesis
Theatre & Film
M.A.
na
This item does not meet KU Open Access policy criteria.
oai:kuscholarworks.ku.edu:1808/60062020-07-29T14:46:59Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Baskett, Michael
Banerjee, Deb Kumar
Hurst, Robert
Willmott, Kevin
2010-03-18T13:30:40Z
2010-03-18T13:30:40Z
2009-12-17
2009
http://dissertations.umi.com/ku:10685
http://hdl.handle.net/1808/6006
Scholars have discussed Indian film director, Satyajit Ray's films in a myriad of ways. However, there is paucity of literature that examines Ray's two films, Goopy Gayen Bagha Bayen (Adventures of Goopy and Bagha 1968) and its sequel Hirak Rajar Deshe (The Diamond King 1980). Even when discussed by Indian or western scholars, these two films have been considered as children's film or fantasy films with very little discourse on the social or political elements. In both these films, the economically and socially disadvantaged groups are depicted as particularly vulnerable to cultural, political and economic imperialism, violence, exploitation and powerlessness. This thesis demonstrates the relationship between the powerful and the powerless. The films are examined within the framework of Foucault's conception of power. Different roles and interpretations of power relationships between humans through kingship, class, caste, religion, gender, technology and knowledge are analyzed in the thesis in order to investigate the historical, social, and political background that inspired Ray to make these films.
61 pages
EN
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Cinema
POWERFUL AND POWERLESS: POWER RELATIONS IN SATYAJIT RAY'S FILMS
Thesis
Theatre & Film
M.A.
na
This item does not meet KU Open Access policy criteria.
7078784
oai:kuscholarworks.ku.edu:1808/78372020-08-10T13:27:05Zcom_1808_1260com_1808_7799col_1808_1952col_1808_13991
Falicov, Tamara
Goebel, Baerbel
Baskett, Michael
Preston, Catherine
Keel, William
Tibbetts, John
2011-08-02T14:19:40Z
2011-08-02T14:19:40Z
2011-04-11
2011
http://dissertations.umi.com/ku:11361
http://hdl.handle.net/1808/7837
The long established dichotomy between public and commercial television into elite and mass programming, or commercial and public stations, has been changing in recent years. The divide is narrowing and many public stations, especially in Europe, attract large and devoted audiences and work with the commercial sectors in their respective countries. The changing television marketplace and vast amount of available programming has created niche markets and thus programming designed to attract specific audiences. Public and commercial stations alike have to attract audiences to keep afloat, be it through advertisers or government funding. Within the constraints of its basic assumptions that television is business-oriented and that all audiences are assumed "ideal" audiences within the industry, this study argues that there is an active (symbiotic) relationship between the industry and the "ideal" audience with regards to German television and the ARD series Tatort. Rooted in Mittell's modified circuit-of-culture, this study discusses forty years of German television history via its most established television drama, Tatort (1970- ). In each decade starting in 1970, it becomes evident that the public providers, reacting to competition, altered their programming to reflect not only changes in regulation but also in audience composition and expectations. The conclusion reached is that a) the "ideal" audience does have agency, even if assumed and then executed by the broadcaster, and b) that the audience is a vital part of television production, and is therefore commodified by the networks.
183 pages
en
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Film studies
Audiences
German television
Media industries
Public television
Television
Television history
In Search of the Audience - Forty Years of German Public Television and Its Audience Driven Commercialization
Dissertation
Film & Media Studies
Ph.D.
na
This item does not meet KU Open Access policy criteria.
7642946
oai:kuscholarworks.ku.edu:1808/40212018-01-31T20:08:06Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Velasco, Maria
Huffman, Rachael Marie
Krueger, Michael
Park, So Yeon
2008-08-05T02:45:36Z
2008-08-05T02:45:36Z
2008-04-29
2008
http://dissertations.umi.com/ku:2499
http://hdl.handle.net/1808/4021
Rachael Huffman's M.F.A. thesis exhibition, (. follow the . connect the . . etc . . .), references the stages of gaining knowledge: consciousness, experience, perception, and cognition. The separate components of the show together act as building blocks that nurture learning and allow for re-arrangement of meaning. The exhibition emphasizes the viewing experience instead of the view, placing importance on the process rather than the product. The work relies on viewer participation in order for a concept to transfer, and the work to be realized. Through the use of signage, altered objects, and physically re-orienting furniture, the viewer is invited to re-consider space. A viewer is aware of how their understanding of space can be altered by the senses, physical perspective, movement, and a different frame of thought. Participants leave feel giddy and alive from exercising the brain and realizing it's potential to alter the way they see.
27 pages
EN
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Fine arts
Brain exercises
Art experience
Perception and the senses
Cognition
Consciousness
Interactive art
. follow the . connect the . . etc . . .
Thesis
Art
M.F.A.
na
This item does not meet KU Open Access policy criteria.
oai:kuscholarworks.ku.edu:1808/69402020-08-05T14:34:38Zcom_1808_1260com_1808_7799col_1808_1952col_1808_13991
Gronbeck-Tedesco, John
Carriere, Patrick Christopher
Leon, Mechele
Bial, Henry
Mikkelson, Gerald E
Christilles, Dennis
2010-12-29T05:39:05Z
2010-12-29T05:39:05Z
2010-04-30
2010
http://dissertations.umi.com/ku:10897
http://hdl.handle.net/1808/6940
Konstantin Sergeevich Stanislavski's system of actor training has become a common foundation for modern approaches to acting through much of the world. This study explores Stanislavski's writings within the context of Russian Orthodox Christianity, the occult sciences, and the developing fields of psychology and psychoanalysis in order to recover the meaning of the "soul" (dusha) of the actor within the System. Stanislavski's System developed upon a mystical, Neo-Platonic construction of the soul. This conceptualization of dusha formed the foundation for Stanislavski's view of the creative process (tvorchestvo) and the essential energy of activity (aktivnost') and a paradigm for actor training that develops specific modes of communication Stanislavski characterized as "direct and unmediated communication, soul to soul." The soul, its creative process, and essential energy are the lynchpins that hold the System together. The definition of this term will illuminate the methodology, aesthetics, and pedagogy of the System.
323 pages
en
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Theater studies
Theater--History
Theater
Acting
Soul
Spirituality
Stanislavski
Reading for the Soul in Stanislavski's <italic>The Work of the Actor on Him/Herself</italic>: Orthodox Mysticism, Mainstream Occultism, Psychology and the System in the Russian Silver Age
Dissertation
Theatre
Ph.D.
na
This item does not meet KU Open Access policy criteria.
8085561
oai:kuscholarworks.ku.edu:1808/106672018-01-31T20:08:10Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
McCrea, Judith
Swim, Carrie Leigh
Akers, Norman
Velasco, Maria
2013-01-20T17:03:19Z
2013-01-20T17:03:19Z
2012-05-31
2012
http://dissertations.umi.com/ku:12141
http://hdl.handle.net/1808/10667
Abstract The Testimony of Touch is an MFA thesis of painting displayed in the Art and Design Gallery of University of Kansas. It consists of eight panels that measure eight by thirty–one feet long, hanging horizontally on the gallery wall. It wrestles with the problem of processing grief, healing, and desire and adoration of truth through authentic mark making in the movement of paint combined with performative dance. The method of painting reflects the tangibility of the healing process. I use my body, covered only with paint, to begin the dance in exploration of the vulnerability of the state of grieving. This establishes the composition. Erratic placements of forms are used to reflect the unpredictable rhythm of healing. Traditional methods of mixing oil paint cover raw marks and embrace contemporary image making through ethereal abstract movements of color and stroke. Removal of formulaic marks maintains sincerity. Tones, layered by methods of glazing, create entrance into atmospheric space and into the meaning of forms through its placement and reference to colors of growth and corruption. The spacing between the panels and forms gives pause for the visual journey across the piece. The difficulty of dealing with the size and content of the work gave further tangibility to grief still lingering in an atmosphere of hope. The painting resulted in the honor and investigation of the divine hand in healing found in the earthly realm. Testimonial organic movements of form, ethereal line, and color flowing in and out of space uncover new revelations of grief and healing. Life's truth and mystery revealed in its absence and presence unbridles the dance and the paint to abstract forms. The thesis work celebrates the authentic discovery, the adoration, and the integrity of mark making in the passage of healing. This incites future explorations of paint's potential to break off physical limitations of discovering truths desired by humanity. The rhythm of paint and dance will continue to unfold in forthcoming projects.
18 pages
en
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Fine arts
Color
Grieving
Healing
Paint
Spiritual
Touch
Testimony of touch
Thesis
Visual Art
M.F.A.
na
This item does not meet KU Open Access policy criteria.
oai:kuscholarworks.ku.edu:1808/67862018-01-31T20:08:15Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Nam, Yoonmi
LaCure, Mari Mae
Bitters, Shawn
Krueger, Michael
2010-10-03T15:28:02Z
2010-10-03T15:28:02Z
2010-04-29
2010
http://dissertations.umi.com/ku:10896
http://hdl.handle.net/1808/6786
Waves is the supporting document to the Master of Fine Arts thesis exhibition of the same title. Exhibited March 7-12 2010 in the Art and Design Gallery at the University of Kansas, Waves was comprised of a series of mixed media drawings. The drawings were an investigation of the microscopic and macroscopic in nature, ranging from molecules and cellular structures to constellations and galaxies. I developed a cohesive vocabulary of simple marks and integrated a range of subtle materials in order to discover their visual potential and power. Through the act of drawing I imagined many perspectives by which we can contemplate the visible and seemingly invisible in the world.
5 pages
en
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Fine arts
Waves
Thesis
Visual Art
M.F.A.
na
This item does not meet KU Open Access policy criteria.
oai:kuscholarworks.ku.edu:1808/148542017-12-08T21:46:53Zcom_1808_1260com_1808_7799col_1808_7158col_1808_13991
Collins, Marie Taylor
2014-07-28T18:11:38Z
2014-07-28T18:11:38Z
1914-06-01
Collins, Marie Taylor. "Some British Aesthetic Theories From Shaftesbury Through Alison." University of Kansas. June 1914.
http://hdl.handle.net/1808/14854
A Thesis Submitted to the Department of Philosophy of the University of Kansas, in partial fulfillment of the requirements for the Degree of Master of Arts.
University of Kansas
This work is in the public domain according to U.S. copyright law and is available for users to copy, use, and redistribute in part or in whole. No known restrictions apply to the work.
openAccess
Some British Aesthetic Theories From Shaftesbury Through Alison
Thesis
Art
M.A.
na
This item does not meet KU Open Access policy criteria.
oai:kuscholarworks.ku.edu:1808/122512020-10-15T14:14:51Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Akers, Norman
Adams, Gina M.
Akers, Norman
Maude, Marshall
Cateforis, David
2013-09-29T16:38:40Z
2013-09-29T16:38:40Z
2013-08-31
2013
http://dissertations.umi.com/ku:12744
http://hdl.handle.net/1808/12251
There is a connection to what the ancient ones taught my ancestors, as this information was passed down generation to generation. I consider my work and its process to be a spiritual endeavor, and the process of making to be a ritual component it. I decided to learn how to make objects in order to have a better understanding of who my ancestors were and how perhaps I am similar to them. The process of making gives me an identity and an ancestral connection. In this I feel that I have been creating work that re-contextualizes the sense of the sacred and the ritual object.
9 pages
en
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Fine arts
Indigenous
Installation art
Ojibwa
Post colonial
Sculpture
Survival
Survival/Zhaabwiiwin
Thesis
Visual Art
M.F.A.
na
This item does not meet KU Open Access policy criteria.
8086350
oai:kuscholarworks.ku.edu:1808/111102020-09-22T14:19:26Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Rovit, Rebecca
Tiehen, Jeanne Peggy
Gronbeck-Tedesco, John
Smith Fischer, Iris
2013-05-13T18:56:11Z
2013-05-13T18:56:11Z
2012-05-31
2012
http://dissertations.umi.com/ku:12039
http://hdl.handle.net/1808/11110
In 2011 the National Theatre produced Frankenstein, a new adaptation written by Nick Dear and directed by Danny Boyle. The production was a huge success, despite that the story of Frankenstein is nearly two hundred years old. This thesis aims to explain why Frankenstein continues to intrigue audiences by examining the 2011 Frankenstein and understanding the history and mythology that have shaped it. A comparative analysis of several Frankenstein dramatizations demonstrates the establishment of recurring patterns in adaptations and the malleability of Mary Shelley's original story. Investigating the mythology of Frankenstein illustrates that the choices made by playwrights and screenwriters reflect cultural ideologies and social anxiety about the fear of progress. The 2011 production exemplifies the endurance and relevance of Frankenstein, clarifying why the story will continue to be dramatized for years to come.
115 pages
en
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Theater
Frankenstein
History of frankenstein
Mythology
Frankenstein on Stage: Galvanizing the Myth and Evolving the Creature
Thesis
Theatre
M.A.
na
This item does not meet KU Open Access policy criteria.
8085636
oai:kuscholarworks.ku.edu:1808/106432018-01-31T20:08:10Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Krueger, Michael
Huffman, Andrew Jacob
Akers, Norman
Bitters, Shawn
2013-01-20T15:57:51Z
2013-01-20T15:57:51Z
2012-05-31
2012
http://dissertations.umi.com/ku:12143
http://hdl.handle.net/1808/10643
ABSTRACT: This work does not start with an idea; it starts with many ideas that serendipitously contextualize as the work evolves. Utilizing time, space, patterning and color, along with geometric and volumetric forms, I lead viewers to experience the tension between illusionistic space and the medium's physical characteristics. By deploying a color rhythm with a pinball-like saccade motion, the viewer is visually drawn into a mental vortex. Drafted lines reference unspecified, archetypal structures and spaces. The underlying architecture is uncovered and interwoven in the processes. In this paradigm, fact and illusion are equals that work in tandem to create a pool of potential signifiers. My Masonic Bohemian ancestors are the ideological and poetical structures that form these ideas. The work's context is imbued with references to early Pop and Op Art, carnivals and semiotics. The entire body of work possesses fluctuating variables that support or suspend meaning in various contexts.
7 pages
en
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Art education
OPTIMISTIC-OPTICALITY
Thesis
Visual Art
M.F.A.
na
This item does not meet KU Open Access policy criteria.
oai:kuscholarworks.ku.edu:1808/216922018-01-31T20:07:50Zcom_1808_1260com_1808_7799col_1808_1952col_1808_13991
Falicov, Tamara
Ingle, Zachary Thomas
Tibbetts, John C
Baskett, Michael
Chappell, Ben
Halegoua, Germaine
2016-10-12T02:27:41Z
2016-10-12T02:27:41Z
2015-12-31
2015
http://dissertations.umi.com/ku:14377
http://hdl.handle.net/1808/21692
Studies based on a director often follow a common model, generally resorting to an overview of that director’s films and examining shared aesthetic qualities and themes. This sort of study was grounded in the auteur theory—following authorship approaches in literature—and was invested in a consistency that justified the place of film authorship as a worthy pursuit in academia. In this study, however, I examine Mexican-American filmmaker Robert Rodriguez through a discursive analysis, unencumbered to textual analysis or even a chronological approach, with a look at the media discourse, Rodriguez’s own writings and interviews, and the pertinent scholarship. His debut award-winning debut feature, El Mariachi (1992), as well as the production diary that would soon follow, Rebel Without a Crew: Or How a 23-Year-Old Filmmaker with $7,000 Became a Hollywood Player, inspired a generation of filmmakers into making ultra-low (or microbudget) films. With films often released through Miramax/ Dimension, Rodriguez has continued to make films that primarily cater to action (Sin City [2005], Machete [2010]), horror (The Faculty [1998], Planet Terror [2007]), and children’s (the Spy Kids films [2001-2011], Shorts [2009]) audiences, all outside of Hollywood at his Troublemaker Studios in Austin, Texas. While still directing films, his most recent venture was founding the El Rey Network, which promotes itself as the first network for English-speaking Latinos. After a brief introduction to the auteur theory in addition to contemporary approaches to authorship that suggest a move away from text-based analyses, I consider four broad areas that point to Rodriguez’s growth from the director of the microbudget El Mariachi to his renown as the most prominent Latino media figure: social contexts (i.e., his Mexican-American identity), labor, economics, and technologies. I conclude that while Rodriguez’s career has evolved significantly over the last twenty-plus years of his professional career, he has steadfastly retained his adherence to his Mexican-American identity, his penchant for taking on many of the tasks of filmmaking (cinematography, editing, composing, etc.) despite having larger budgets, his parsimonious approach to budgets, and his technophilia.
253 pages
en
University of Kansas
Copyright held by the author.
openAccess
Film studies
Hispanic American studies
3-D
auteur theory
independent
Latino/a cinema
Mexican-American identity
Rodriguez
Robert
From El Mariachi to El Rey: Robert Rodriguez and the Transformation of a Microbudget Filmmaker into a Latino Media Mogul
Dissertation
Film & Media Studies
Ph.D.
oai:kuscholarworks.ku.edu:1808/64122020-08-03T13:48:32Zcom_1808_1260com_1808_7799col_1808_1952col_1808_13991
Bial, Henry
Buckner, Jocelyn Louise
Smith Fischer, Iris
Leon, Mechele
Hodges Persley, Nicole
Tucker, Sherrie
2010-07-25T22:02:39Z
2010-07-25T22:02:39Z
2010-04-27
2010
http://dissertations.umi.com/ku:10853
http://hdl.handle.net/1808/6412
"Shady Ladies: Sister Acts, Popular Performance, and the Subversion of American Identity" is a project with two major components. First, it is a historical project based on original archival research conducted at the Schomberg Center for Research in Black Culture, the Hatch-Billops Collection, and the New York Public Library for the Performing Arts. I construct and contextualize the performance histories of African American (the Hyers Sisters and Whitman Sisters) and European American (the Dolly Sisters and Duncan Sisters) sister acts, developing an argument for how these artists created a space for dialogue regarding the social constructions of race, gender, and sexuality through their often antithetical representations of identities in their performances. Second, I develop a theoretically informed comparative analysis of these groups' performance and biographical histories. I articulate how women on both sides of the black/white binary negotiated and challenged social expectations in the late nineteenth and early twentieth centuries.
223 pages
EN
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Theater--History
American studies
Performing arts
Drag
Gender
Popular performance
Race
Sister Act
Vaudeville
Shady Ladies: Sister Acts, Popular Performance, and the Subversion of American Identity
Dissertation
Theatre
Ph.D.
na
This item does not meet KU Open Access policy criteria.
8085456
oai:kuscholarworks.ku.edu:1808/69982018-01-31T20:08:09Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Hachmeister, John
Cogorno, David
Burke, Matthew
Vertacnik, David
2011-01-03T03:43:58Z
2011-01-03T03:43:58Z
2010-04-29
2010
http://dissertations.umi.com/ku:10817
http://hdl.handle.net/1808/6998
The concept of "place" is a mental construction that we, as humans, create to give importance to a location. The experience of authentic human attachment to an environment is a phenomenon all people can relate to. Through interactions with a location we give significance to it and imbue it with meaning. Place, in turn, identifies us and gives our lives continuity. "Sense of Place" is an installation that draws inspiration from locations that have influenced me. I have come to understand these sites through my physical interactions with and observations of the landscape. These localities are stored in my memory in a series of mental maps. In this installation, I have selected and combined certain mental maps of places that have played a significant role in shaping who I am. By combining these several locations into one landscape I have created a new place; a place which reflects where I come from, where I draw inspiration from, and consequently, a place to better understand who I am. I have created a "sense of place," in which I can further contemplate, reflect, and explore who I am and remember how I got there.
17 pages
en
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Fine arts
Geography
Drawing
Landscape
Memory
Place
Sculpture
Topography
A Sense of Place
Thesis
Visual Art
M.A.
na
This item does not meet KU Open Access policy criteria.
oai:kuscholarworks.ku.edu:1808/77582020-08-07T17:19:09Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Preston, Catherine
Banion, Teresa Mary
Falicov, Tamara
Willmott, Kevin
2011-07-04T20:27:00Z
2011-07-04T20:27:00Z
2011-04-22
2011
http://dissertations.umi.com/ku:11501
http://hdl.handle.net/1808/7758
Abstract This study looks at the issue of agency in women undergraduate students enrolled in film production classes at the University of Kansas during the Spring Semester 2010. Women undergraduates students enrolled in production classes participated in a focus group which addressed their behavior and experiences in production classes. The writing of Dr. Jean Baker Miller in her work Toward a New Psychology of Women, 1976, served as a means to analyze the findings.
110 pages
en
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Film studies
Women's studies
Agency
Classes
Production
Undergraduate
Women
Agency Unrealized: Women Students in Film Production Classes
Thesis
Film & Media Studies
M.A.
na
This item does not meet KU Open Access policy criteria.
7642849
oai:kuscholarworks.ku.edu:1808/53382020-07-24T12:42:40Zcom_1808_1260com_1808_7799col_1808_1952col_1808_13991
Falicov, Tamara
Pérez Tejada, Manuel Antonio
Anderson, Danny
Berg, Chuck
Preston, Catherine
Tibbetts, John
2009-07-30T21:04:43Z
2012-06-06T16:21:55Z
2009-01-14
2009
http://dissertations.umi.com/ku:10192
http://hdl.handle.net/1808/5338
This dissertation examines the politics involved in the distribution of Mexican documentaries during the 1988-2006 period, as a way to pinpoint the factors shaping the circulation of these films. The research explores inequalities in audiovisual distribution, which have affected the circulation of Mexican documentaries in the domestic market. In my argument, I sustain that these inequalities are the result of complex political and economic tensions within the field of cultural production in a country that has entered an era of neoliberalism and transitional democracy. To narrow the scope of this study to feasible and attainable proportions, I analyze three distribution case studies applying a cultural industries approach within critical political economy, informed by Pierre Bourdieu's field theory and concepts borrowed from cultural studies. The case studies under analysis involved the documentary production and distribution of three production houses. Each of them participates in a different field of cultural production: film, video, or television. These production houses are the film company La Media Luna, the video collective Canal 6 de Julio, and the publishing and video company Clío. By examining these case studies, I highlight what is at stake when some audiovisual texts have greater access to audiences and markets than others. This is important since documentaries have helped to ensure a diversity of voices, both social and political, in the Mexican public sphere. In order to ensure this diversity, it is crucial to understand how Mexican documentaries can gain access to larger Mexican audiences. This is what this dissertation seeks to address.
236 pages
EN
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Cinema
Latin American--History
Economics
Commerce
Documentary
Economy
Film
Industry
Mexico
Politics
The Politics of Mexican Documentary Distribution: Three Case Studies, 1988-2006
Dissertation
Theatre & Film
Ph.D.
na
This item does not meet KU Open Access policy criteria.
6857450
oai:kuscholarworks.ku.edu:1808/145322018-01-31T20:08:05Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Ringer, Delores
Evans, Cynthia Louise
Unruh, Delbert
Gronbeck-Tedesco, John
2014-07-05T16:20:31Z
2014-07-05T16:20:31Z
2014-05-31
2014
http://dissertations.umi.com/ku:13446
http://hdl.handle.net/1808/14532
This thesis chronicles the development of a contemporary scenographic design for the stage of Anthony Burgess' novel, A Clockwork Orange, based on his original novel and including the 21st chapter, which has been omitted from editions published in the United States prior to 1986 and Stanley Kubrick's 1971 movie. Expressionistic style and scale support the original resolve of the author to question societal interference with individual free will. Burgess's novel, stage script, notations, additional writings and interviews were employed to determine author intent. Substantially different from the impact of Kubrick's film, Burgess envisioned Alex's transformation into an adult, stemming from personal experience and the freedom to choose. 20th Century Expressionistic art inspired large, industrial scale surroundings as a mechanical background for the very human, emotionally charged subject matter of the story. They hint at a far-reaching, self-assured state, ominously watching over all. Splashes of color represent the life that humans (the Oranges) bring to this environment (the Clockwork) and were also borrowed from Graphic Expressionism. Alex and his gangs' violent actions are exposed stylistically and potently without the voyeuristic distraction of bloody, realistic detail which are not the focus of Burgess' story. Separating from the well-known classic film and the oft-banned edition of the novel with only 20 chapters, this production presents Anthony Burgess' originally intended tale of "the danger of stifling free will and the creative urge for the sake of obedience to the State." (http://www.anthonyburgess.org/)
74 pages
en
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Theater
Design
Performing arts
A clockwork orange
Burgess, Anthony
Costume design
Lighting design
Production concept
Scenic design
What's It Going To Be Then, Eh? Youth Violence, Free Will, and the Creative Cycle in A Clockwork Orange
Thesis
Theatre
M.F.A.
na
This item does not meet KU Open Access policy criteria.
oai:kuscholarworks.ku.edu:1808/147662017-12-08T21:46:53Zcom_1808_1260com_1808_7799col_1808_7158col_1808_13991
Brown, Lulu
2014-07-14T18:58:43Z
2014-07-14T18:58:43Z
1914-07-01
Brown, Lulu. "The Imperfect Indicative of Latin: A Study Based Chiefly Upon Vergil's Aeneid Books I-VI" University of Kansas. July 1914.
http://hdl.handle.net/1808/14766
This is a 1914 thesis written by Lulu Brown entitled, "The Imperfect Indicative of Latin: A Study Based Chiefly Upon Vergil's Aeneid Books I-VI"
University of Kansas
This work is in the public domain according to U.S. copyright law and is available for users to copy, use, and redistribute in part or in whole. No known restrictions apply to the work.
openAccess
The Imperfect Indicative of Latin: A Study Based Chiefly Upon Vergil's Aeneid Books I-VI
Thesis
M.A.
na
This item does not meet KU Open Access policy criteria.
oai:kuscholarworks.ku.edu:1808/145632018-01-31T20:08:11Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Jordan, Mary Anne
O'Brien, Pearl
Hartman, Tanya
Maud, Marshall
2014-07-05T17:20:05Z
2014-07-05T17:20:05Z
2014-05-31
2014
http://dissertations.umi.com/ku:13407
http://hdl.handle.net/1808/14563
My thesis work is a project about relationships. Context is important to me, and I have long considered the connection between my work and the work that came ahead of it to be vital. The process of working creates a space of reflection. From within this space I work with the material at hand to reveal truths about myself and about it.
8 pages
en
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Art criticism
Fiber art
Tawney, Lenore
Robert morris
Hicks, Sheila
Textiles
Weaving
Undone
Thesis
Visual Art
M.F.A.
na
This item does not meet KU Open Access policy criteria.
oai:kuscholarworks.ku.edu:1808/74052020-08-07T13:12:47Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
McCrea, Judith
Ward, Nicholas Adam
Park, So Yeon
Krueger, Michael
2011-04-26T01:41:15Z
2011-04-26T01:41:15Z
2010-04-30
2010
http://dissertations.umi.com/ku:10805
http://hdl.handle.net/1808/7405
Machine For Grinding Fog, an exhibition of stop motion animated films, revolves around three primary concerns: relationships, psychological or subjective reality, and relativity. Rooted within concerns of faith, personal ethics, and a re-evaluation of individual and artistic purpose, the poem and animations identify what I, at first, perceived as a multitude of contradicting tones, tones of futility coexisting with tones of a childlike playfulness. These viewpoints became interchangeable, altering perspectives with such rapidity that a blurred subjectivity evolved from the once polar sentiments. When the conveyance of this experience is created as art, it becomes experiential in itself and is in turn experienced. This is our basic chemical process, regenerative and transformative. For me, this is the role of poetics and the process of art making.
4 pages
en
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Fine arts
Philosophy
Psychology
Absurd
Animation
Art
Relationships
Relativity
Stop motion
Machine For Grinding Fog
Thesis
Visual Art
M.F.A.
na
This item does not meet KU Open Access policy criteria.
7642805
oai:kuscholarworks.ku.edu:1808/77622020-08-07T13:25:12Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Nam, Yoonmi
Ricketts, Clinton Michael
Krueger, Michael
Bitters, Shawn
2011-07-04T22:41:02Z
2011-07-04T22:41:02Z
2010-04-30
2010
http://dissertations.umi.com/ku:10834
http://hdl.handle.net/1808/7762
From my earliest memories I have used drawing as a way to deepen my experiences of the things I encountered: movie monsters, comic book heroes, baseball and church. In time this practice became a ritual, and the resulting objects, artifacts of my own comprehension.This approach is an important part of my current work and is the impetus for this series. Some of my most meaningful personal experiences have come from involvement on a team or with a group as we endeavored toward a common goal. The communities I have been a part of offer a transient history described by communal hopes and important personal relationships. In retrospect, these relationships and shared desires define my sense of self. In the thesis exhibition titled Together Let Our Hearts Agree I reinvent the world to reflect my current understanding and desires, searching for spirituality in relationships and personal connections.
9 pages
en
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Art criticism
Metaphysics
Color pencil
Drawing
Etching
Ritual
Together Let Our Hearts Agree
Thesis
Visual Art
M.F.A.
na
This item does not meet KU Open Access policy criteria.
7642804
oai:kuscholarworks.ku.edu:1808/116912020-09-30T14:35:20Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Havener, Jon R
Gomez, Randolph
Stanionis, Lin
Hachmeister, John
2013-08-24T20:48:06Z
2013-08-24T20:48:06Z
2013-05-31
2013
http://dissertations.umi.com/ku:12755
http://hdl.handle.net/1808/11691
Death Circles is comprised of five panels of cotton fabric, stretched by heavy rods on the top and the bottom of the piece, these fabrics are imprinted with circles of ants, there is also a circle of metal ants that are suspended in the last fabric. Death Circles is a meditational piece blending science and poetry, that seeks to inspire the viewer to question what we know, what we believe in, and how we live our lives.
16 pages
en
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Fine arts
Ants
Death circles
Installation
Stamping
Death Circles
Thesis
Visual Art
M.F.A.
na
This item does not meet KU Open Access policy criteria.
8086240
oai:kuscholarworks.ku.edu:1808/219002018-01-31T20:07:47Zcom_1808_1260com_1808_7799col_1808_1952col_1808_13991
Baskett, Michael
Wilson, Ronald
Sutera, David Micheal
Tibbetts, John
Willmott, Kevin
Utsler, Max
2016-11-10T23:29:57Z
2016-11-10T23:29:57Z
2016-05-31
2016
http://dissertations.umi.com/ku:14676
http://hdl.handle.net/1808/21900
This dissertation examines the development of an emerging trend in contemporary sports film production identified as the post-classical Hollywood sports business film. Post-classical Hollywood sports business films stand in contrast to their classical Hollywood sports film predecessors based on some distinguishing characteristics relating to different points of narrative emphasis, themes, and character types. Initially, post-classical sports business film narratives focus primarily on the business side of professional team sports rather than themes devoted to athletes achieving on the field of play in the world of sports. As a result, much of the filmic action in post-classical Hollywood sports business films occurs in business setting such as offices and board rooms rather than in sports stadiums, arenas, or playing fields typical of classical era sports films. Finally, non-athlete sports film protagonists (NASP) in post-classical Hollywood sports business films have supplanted athlete protagonists as the main characters in this new sports film trend, with athlete characters occupying supporting roles in the overall narratives. The focus of this study concentrates on two stages of development in the post-classical Hollywood sports business film. After providing a brief history classical sports films, the first stage of development in this new trend is identified as taking place starting from the late 1960s and continuing to the mid 1990s. During this time period, an increasing number of Hollywood sports business films featured matters of sports economics and other off-the-field matters related to professional team sports as significant components of the narrative. In addition, athlete protagonists, in contrast to their classical era predecessors, began to show greater concern for their personal careers rather than helping their teams win championships. The second stage of development initiated with the film Jerry Maguire in the mid 1990s, which signaled the appearance of the non-athlete sports film protagonist (NASP) as one of the most distinguishing traits of the post-classical Hollywood sports business film trend that continues into the 21st century. Moreover, Jerry Maguire (1996) exists as the prototypical sports business film, and marks a crucial turning point in Hollywood production leading to the development of the ensuing trend and potential sports film sub-genre. This study takes a socio-historic approach drawing on Robert C. Allen and Douglas Gomery’s historiographical methods from Film History: Theory and Practice (1985) in examining a range of contemporaneous economic, political, and social generative mechanisms is facilitating the rise of the post-classical Hollywood sports business film trend. Using discursive textual analysis of certain post-classical Hollywood sports business films, this study positions the spread of neoliberalism and free market principles as significant generative mechanisms in the appearance of distinctive representations, themes, and narrative elements evident in post-classical Hollywood sports business film trend. Film such as Bang the Drum Slowly (John D. Hancock, 1973), North Dallas Forty (Ted Kotcheff, 1979), Jerry Maguire (Cameron Crowe, 1996), and Moneyball (Bennett Miller, 2011) among others, are examined as examples of post-classical Hollywood sports business films exhibiting these new themes and narrative patterns.
183 pages
en
University of Kansas
Copyright held by the author.
openAccess
Film studies
Economics
Sports management
Cinema
Moneyball
Neoliberalism
Post-Fordism
Sports
Unions
The Development of the Post-Classical Hollywood Sports Business Film Trend: A Socio-Historic Approach
Dissertation
Film & Media Studies
Ph.D.
oai:kuscholarworks.ku.edu:1808/53922020-06-25T19:00:29Zcom_1808_1260com_1808_7799col_1808_1952col_1808_13991
Baskett, Michael
Park, Nohchool
Preston, Catherine
Tibbetts, John
Antonio, Robert
Falicov, Tamara
2009-08-07T22:27:31Z
2009-08-07T22:27:31Z
2009-04-14
2009
http://dissertations.umi.com/ku:10254
http://hdl.handle.net/1808/5392
A Cultural Interpretation of the South Korean Independent Cinema Movement, 1975-2004 examines the origin and development of the independent cinema movement in South Korea. The independent cinema movement refers to the films, film theories, film-related cultural activities that emerged as a way to document social realities, to advocate the freedom of artistic expression, and to represent the voices of marginalized social identities. My dissertation is the first attempt in English film scholarship on Korean cinema to explore the history of non-commercial filmmaking conducted in the name of cinema movement from 1970s to 2000s. The primary sources of investigation for this research include films, books, and archive materials. The hitherto unpublished memories and historical information obtained from the direct interviews with the independent filmmakers add originality to this dissertation. Investigating the independent cinema movement offers new perspectives on the cultural study of national cinema movement and the existing scholarship of South Korean cinema. This dissertation questions the dominant historiography regarding South Korean cinema which centers on the 1960s as the `golden age' of South Korean cinema and the 1990s as its renaissance. This position tends to dismiss the intervening decades of the 1970s and 80 as the `dark age' of the national cinema. Defying the conventional view, this study shows the presence of the new generation of filmmakers and young cinephiles who launched a series of new cinema movements from the 1970s onward. In this regard, the 1970s should be reinterpreted as the period that marked the genesis of the new wave consciousness in the history of South Korean cinema. Second, this study analyzes the history of the independent cinema movement as a dialogic process between domestic cultural discourse and foreign film theories. The filmmakers who initiated the independent cinema movement drew on Euro-American art cinemas, New Latin American Cinema, and the feminist films from the West to incorporate them into the domestic cultural context, producing the new concepts such as the Small Film, the People's Cinema and the woman's film. This fact challenges the national cinema discourse which presupposes that the history of South Korean cinema is established within the closed circuit of the national history and traditional aesthetics. My dissertation helps create an alternative perspective by which to see the construction of national cinema as fundamentally an interaction between indigenous popular discourses and international film new waves. Finally, this dissertation takes into consideration the active roles of the independent filmmakers. It examines the films and manuscripts produced by the filmmakers to see how they invented and elaborated their positions about cinema movement in the given cultural field in each period. It pays attention to the cultural field where the filmmakers are conditioned between what they wanted to visualize and what is externally granted. Viewing an established cultural field as a hegemonic construction, this study also investigates the way in which transformation occurs from one cultural field to another.
228 pages
EN
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Art history
Asia--History
Australian history
Oceania--History
Asian literature
Independent documentary
National cinema
People's cinema
Small film
South Korean independent cinema movement
Woman's film
A Cultural Interpretation of the South Korean Independent Cinema Movement, 1975-2004
Dissertation
Theatre & Film
Ph.D.
na
This item does not meet KU Open Access policy criteria.
6857448
oai:kuscholarworks.ku.edu:1808/117292020-09-29T14:49:08Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Bitters, Shawn
Flaming, Jared
Cateforis, David
McCrea, Judith
2013-08-24T22:40:58Z
2013-08-24T22:40:58Z
2013-05-31
2013
http://dissertations.umi.com/ku:12781
http://hdl.handle.net/1808/11729
This paper conducts a critical examination in a deconstructive manner of a series of paintings by the author. It closely mirrors a post-structuralist style of questioning. It utilizes deconstructive tactics and notions formulated by Jacques Derrida. This paper poses interpretations on issues such as the limit of an image and the relationship between text and representations. It utilizes the terminology of semiotics to contrast different types of symbolism.
28 pages
en
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Aesthetics
Philosophy
Deconstruction
Derrida, Jacques
Painting
Passe-Partout
Thesis
Visual Art
M.F.A.
na
This item does not meet KU Open Access policy criteria.
8086234
oai:kuscholarworks.ku.edu:1808/60012020-07-30T13:06:47Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Burke, Mathew
Kephart, Sarah Caroline
Jordan, Mary Anne
Hachmeister, John
2010-03-18T05:08:59Z
2010-03-18T05:08:59Z
2009-12-09
2009
http://dissertations.umi.com/ku:10625
http://hdl.handle.net/1808/6001
The Master's of Fine Arts exhibit by Sarah Kephart, Miss Conceptualizing the Dreamilluminates the strength of the American dream by examining our cultural ideals of happiness, equality, and success. The iconographic power embedded in the sculptures, are symbolic of the dream. The installation depicts a single family-sized house, a station wagon, and a chandelier form. They sculptures function as a way to magnify our desires to attain materialistic items as proof of our success and ability to live the dream. The exhibit suggests too not give up on what has long defined who we are as a great nation, but is intended to inspire and encourage one another to hold onto our dreams of greater value i.e. family, friends and unconditional love and support. Together, we can see the light of hope and faith in a new day, a new tomorrow, new American dream.
12 pages
EN
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Fine arts
American dream
Chandelier
Home
Installation
Sculpture
Thesis
Miss Conceptualizing the Dream
Thesis
Art
M.A.
na
This item does not meet KU Open Access policy criteria.
7078771
oai:kuscholarworks.ku.edu:1808/76762020-08-07T16:31:36Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Hachmeister, John
Platter, David
Swindell, Jon K
Burke, Matthew
Maude, Marshall
2011-06-21T19:39:01Z
2011-06-21T19:39:01Z
2011-04-27
2011
http://dissertations.umi.com/ku:11554
http://hdl.handle.net/1808/7676
Charting the Self can be understood as a process of manifesting revelations of existence through the metaphor of large scale figurative sculpture. By focusing on three ways I understand the human experience I have developed an enduring understanding for the nature of our physical condition while simultaneously gaining a deeper understanding for consciousness through the implication of the mind as a void. Physical awareness, time, and mental capacity served Charting the Self as variables which informed the response to the question, "What is it to be?" Perception was revealed as being local to the mind and altered through awareness to the self in time and space both as metaphors and in the action of realizing figurative sculpture ten times larger than life.
7 pages
en
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Fine arts
Art
Awareness
Charting
Consciousness
Figure
Sculpture
Charting The Self
Thesis
Visual Art
M.F.A.
na
This item does not meet KU Open Access policy criteria.
7642844
oai:kuscholarworks.ku.edu:1808/190362018-01-31T20:07:54Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Unruh, Delbert
Gu, Nannan
Reaney, Mark
Christilles, Dennis
Vogel, Kelly
2015-12-03T03:34:28Z
2015-12-03T03:34:28Z
2015-05-31
2015
http://dissertations.umi.com/ku:13998
http://hdl.handle.net/1808/19036
This paper is focusing on the Scenography for Lionel Bart’s musical “Oliver!”. It mainly includes the Scenic Design, Costume Design and Lighting Design. I chose this musical for my thesis because I believe it is timeless, energetic and international. The story of Oliver Twist is well known to audience from all over the world. The Victorian London is a mirror to all the developing Capitals. As an International student from China, I think this play is also interesting enough to bring Chinese audience, like my parents, into theatres. Just like a quote from Charles Dickens: “It was the best of times, it was the worst of times.” My design concept is to create a theatrical world of great contrast.
66 pages
en
University of Kansas
Copyright held by the author.
openAccess
Theater
Design
Costume Design
Dickens
Lighting Design
Oliver
Scenic Design
Scenography
Scenography for “Oliver! : The Musical”
Thesis
Theatre
M.F.A.
oai:kuscholarworks.ku.edu:1808/299022021-03-05T16:53:56Zcom_1808_1260com_1808_7799col_1808_1952col_1808_13991
Preston, Catherine
Miner, Joshua
Swanson, Carl Joseph
Preston, Catherine
Miner, Joshua
Baskett, Michael
Wilson, Ronald
Devitt, Amy
2020-01-17T23:16:41Z
2020-01-17T23:16:41Z
2019-05-31
2019
http://dissertations.umi.com/ku:16592
http://hdl.handle.net/1808/29902
This dissertation argues for a rethinking and expansion of film genre theory. As the variety of media exhibition platforms expands and as discourse about films permeates a greater number of communication media, the use of generic terms has never been more multiform or observable. Fundamental problems in the very conception of film genre have yet to be addressed adequately, and film genre study has carried on despite its untenable theoretical footing. Synthesizing pragmatic genre theory, constructivist film theory, Bourdieusian fan studies, and rhetorical genre studies, the dissertation aims to work through the radical implications of pragmatic genre theory and account for genres role in interpretation, evaluation, and rhetorical framing as part of broader, recurring social activities. This model rejects textualist and realist foundations for film genre; only pragmatic genre use can serve as a foundation for understanding film genres. From this perspective, the concept of genre is reconstructed according to its interpretive and rhetorical functions rather than a priori assumptions about the text or transtextual structures. Genres are not independent structures or relations among texts but performative speech acts about textual relationships and are functions of the rhetorical conditions of their use. This use is not only denotative, but connotative, as well, insofar as certain genre labels evoke aesthetic or moral judgments for certain users. This dissertation proposes the concept of meta-genres, or the sum total of textual and extra-textual attributes plus the evaluative valances a given user associates with a generic label. Meta-genres help guide interpretation and serve as a shorthand for evaluative judgments about certain kinds of films, and are thus central to the kinds of taste politics negotiated through film texts. The rhetorical conditions of genre use can be typified, and this dissertation adapts concepts and methods from the field of rhetorical genre studies to show that the film genre use is most readily observable through its uptake rhetorical genres. These rhetorical genres, in turn, index the social groups and recurring situations that they are called upon to meet. By studying examples like academic writing, popular press reviews, filmmaker interviews, internet message board comments, and digital media recommendation systems, one can identify how specific deployments of generic terms serve as a nexus of text, user, group, and social activities, and can develop a methodology for studying genre as use relative to those dimensions.
258 pages
en
University of Kansas
Copyright held by the author.
openAccess
Film studies
Film Criticism
Film History
Film Theory
Genre
Rhetoric
Classified by Genre: Rhetorical Genrefication in Cinema
Dissertation
Film & Media Studies
Ph.D.
oai:kuscholarworks.ku.edu:1808/190502018-01-31T20:07:54Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Rovit, Rebecca
Hofgren, Alice
Barnette, Jane
Christilles, Dennis
2015-12-03T04:05:35Z
2015-12-03T04:05:35Z
2015-05-31
2015
http://dissertations.umi.com/ku:14093
http://hdl.handle.net/1808/19050
Stories about Helen of Troy and Odysseus’ wife Penelope have existed alongside each other over the centuries since Athens dominated Greek art and culture. By considering depictions of these two women in three time periods, this study will trace the way their stories have changed, and what these changes may tell us about each period’s attitude towards women. This analysis also problematizes the tropes of “the virgin” and “the whore” ro demonstrate the adverse impact of such recurring images on women today. Starting in the fifth century, Athens, I will consider Helen through three plays by Euripides, asking why Penelope is a major character in Homer’s Odyssey, but does not appear in any extant Greek tragedy. Moving to the Middle Ages in Britain, I will look at how Helen is constructed in three adaptations of Guido de Colonna's Hystoria Troiana, as well as Penelope’s letter to her husband in John Gower’s Confessio Amantis. I will also consider Christopher Marlowe’s The Tragical History of Doctor Faustus, which places these women onstage and subjects them to the male gaze. My study of these sources will attempt to discern the reasons that the character of Penelope became a well-known ideal of femininity by the late fourteenth century, while Helen was to some extent pardoned for inciting the Trojan War. In the twentieth and twenty-first centuries, US productions of theatrical adaptations of both of these characters have received widespread attention; but what does this mean for a feminist analysis of Helen and Persephone? To answer this question, I will use three plays that adapt the myths of Helen and Penelope; Jean Giraudoux’s Tiger at the Gates, Mark Schultz’s A Brief History of Helen of Troy, and Margaret Atwood’s The Penelopiad. After investigating my chosen time periods, I conclude that stories and dramas about the stereotypical whore and the idealized wife have allowed two characters constructed by men in a patriarchal culture to be re-adapted in the twenty-first century and given their own voices. These adaptations, however, continue to uphold Helen and Penelope as dichotomous figures, something that hinders their ability to function as theatrical advocates for third wave feminism.
99 pages
en
University of Kansas
Copyright held by the author.
openAccess
Theater
Greek
Helen
Penelope
Tragedy
The Perfect Wife and the Evil Temptress: The Dichotomy of Penelope and Helen of Troy
Thesis
Theatre
M.A.
oai:kuscholarworks.ku.edu:1808/106732018-01-31T20:08:10Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Berg, Chuck
Reid, Tina-Louise
Preston, Catherine
Willmott, Kevin
2013-01-20T17:13:50Z
2013-01-20T17:13:50Z
2012-05-31
2012
http://dissertations.umi.com/ku:12050
http://hdl.handle.net/1808/10673
As co-written with scholar and storyteller Angela Carter, Neil Jordan's The Company of Wolves (1984) represents a unique case of adaptation as it radically revises the figure of “ Little Red Riding Hood.” The Company of Wolves transforms the pervasive myth of coming-of-age folklore by stimulating hallucinatory visions embedded in a structure effectively simulating the unconscious logic of dream. This paper investigates the evolution of the mythos in the original Little Red Riding Hood fairy tale, its progression and eventual reworking in Carter's literary and filmic takes, as she shifts the focus from the frightened, naïve girl clad in red, reliant on male heroes to the sexually awakened, self-reliant young woman in a crimson cape. To make the texts transparent, this essay analyses The Company of Wolves and its sources through the lenses of adaptation theories including those by George Bluestone and Sarah Cardwell whilst exploring Angela Carter's relationship to fairy tale as chronicled by Jack Zipes. The mechanisms and symbols of the dream imagery manifested in The Company of Wolves distinguish Carter's and Jordan's feverish brainchild as an enticingly instructive exemplar of rendering unconscious desires visible and visceral on celluloid.
64 pages
en
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Film studies
British and irish literature
Adaptation
Carter, Angela
Dream
Film
Jordan, Neil
The company of wolves
From Cap to Cloak: The Evolution of "Little Red Riding Hood" from Oral Tale to Film
Thesis
Film & Media Studies
M.A.
na
This item does not meet KU Open Access policy criteria.
oai:kuscholarworks.ku.edu:1808/260322018-05-01T18:49:55Zcom_1808_1260com_1808_7799col_1808_1952col_1808_13991
Tibbetts, John C
Wille, Joshua
Jacobson, Matthew
Willmott, Kevin
Wilson, Ronald
Johnson, Kij
2018-02-19T03:55:07Z
2018-02-19T03:55:07Z
2017-09-31
2017
http://dissertations.umi.com/ku:15537
http://hdl.handle.net/1808/26032
https://orcid.org/0000-0001-7945-1899
Fan edits are essentially unauthorized alternative versions of films made by fans, whom I define as people with intense interest in films and related media. Unlike traditional film editing, which is characterized by a new assemblage of original film or video content, fan editing is a form of recombinant filmmaking that reactivates existing arrangements of audiovisual material. Fan edits are noncommercial transformative works that illustrate the mutability of digital cinema as well as the potential for new media artists, experimental filmmakers, and diverse critical voices to emerge from a networked public. The Phantom Edit (2000) is a seminal fan edit based on Star Wars Episode I: The Phantom Menace (1999) that established a model of production and distribution for fan edits. As a central research problem, this study recognizes that the failure of previous scholarship to account accurately for the history of The Phantom Edit, as well as an evident lack of close engagement with contemporary fan edits, have hindered the ability of scholars to grapple with significant developments in fan edit culture. In general, film and media studies have failed to account for both The Phantom Edit and nearly two decades of progressive work. This study builds upon the limits of previous scholarship in order to illustrate a historical trajectory of fan editing from The Phantom Edit to its more diverse present state, which is exemplified by Raising Cain: Re-cut (2012), a fan edit based on Raising Cain (1992) that was eventually endorsed by Brian De Palma and sold as the official director’s cut. Furthermore, this study examines practical trends of fan edits and effective means of classification. Combining archival research, interviews, practical fan editing experience, and textual analysis of fan edits collected over several years of participation in the fan editing community, this study offers a foundation of knowledge about the technology, legal contexts, and cultural practice of fan edits.
216 pages
en
University of Kansas
Copyright held by the author.
openAccess
Film studies
Fan edit
Phantom Edit
Recut
Re-edit
Remix
Beyond The Phantom Edit: A Critical History and Practical Analysis of Fan Edits
Dissertation
Film & Media Studies
Ph.D.
oai:kuscholarworks.ku.edu:1808/190642018-01-31T20:07:51Zcom_1808_1260com_1808_7799col_1808_1952col_1808_13991
Bial, Henry
List, Jeff
Leon, Mechele
Gronbeck-Tedesco, John
Hodges Persely, Nicole
Chappell, Ben
2015-12-03T04:26:23Z
2015-12-03T04:26:23Z
2015-05-31
2015
http://dissertations.umi.com/ku:14100
http://hdl.handle.net/1808/19064
Residents in Massillon, OH understand their relationship to the town through the lens of football. Football offers residents a narrative to which they can accede when the popularized narratives of the town fail to appropriately frame their experiences. The construction of Massillon as a blue-collar small town conflicts with historical narratives presented by other local institutions. Re-enacting the football narrative constructs a sense of self that rationalizes civic identities when confronted with counter-narratives. High school football, then, perpetuates the local, blue collar sense of self. By advancing the football narrative, they can claim that racial and class relations are less relevant in their lives because football enacts a classless and colorblind meritocracy. Because black and white players work where only talent matters, race and class are no longer determinants of success and opportunity. The spectacles and rituals of football also inform residents’ relationship to the team. They valorize the team and socialize newcomers and children into the embodied performances which create emotional attachments. Attachment has reached such proportions for some that they ascribe a biological or essential quality to football. The essential quality of the team also gets perpetuated though discourse and everyday practices. Residents conflate team and town where supporting the team means supporting the town. People enact civic identities as they recirculate the football narrative. Beginning with Paul Brown, an infrastructure supporting the team has grown into a celebratory complex of hundreds of projects and programs. Participation in the complex enhances the oneness of being part of the team. People access the greatness associated with the team by constructing a team identity. Individual, civic, and team identities coalesce during McKinley Week, where residents can combat others who represent what they strive to overcome. The repetition of images and performances ingrains the attraction to the team. Residents use football as a mechanism for meaning-making.
309 pages
en
University of Kansas
Copyright held by the author.
openAccess
Theater
American studies
Cultural Performance
Football
Performance Studies
Performativity
Social performance
MassillonProud: A Performance Studies Approach to High School Football and Localized Meaning-Making
Dissertation
Theatre
Ph.D.
oai:kuscholarworks.ku.edu:1808/280482020-10-13T20:15:56Zcom_1808_1260com_1808_7799col_1808_1952col_1808_13991
Falicov, Tamara
Pitzer, Juli Stone
Halegoua, Germaine
Hurst, Robert
Wilson, Ron
Anatol, Giselle
2019-05-19T02:06:24Z
2019-05-19T02:06:24Z
2018-12-31
2018
http://dissertations.umi.com/ku:16322
http://hdl.handle.net/1808/28048
https://orcid.org/0000-0003-1216-5008
This dissertation examines the film exhibition industry’s main field-configuring event, CinemaCon (2011-2018), deemed the largest convention and trade show in the world with over 4,000 participating delegates each year. Though CinemaCon is the newest industry event operated by the exhibitor trade organization, the National Association of Theatre Owners (NATO), it has quickly become the prominent annual ritual activity for film exhibitors and production and distribution industry delegates to attend. This study draws upon extensive primary and secondary source materials from archival research; immersive field attendance as a participant-observer at the multiple events; and industry artifacts. It combines these analyzed resources with multi-disciplinary approaches from media industry studies, political economy, organizational, management and event studies in order to present a detailed case study of the CinemaCon event as well as a critical examination of the ‘semi-embedded deep texts’ of its activities, presentations, and messages. Overall, I argue that CinemaCon is a powerfully constructed film exhibitor field-configuring event where its dominant organization is the represented ‘voice’ of the film exhibition industry that reinforces technological standards and intra-industry practices. The study begins with an overview of film exhibition’s history of formulating a unified convention event as it attempted to organize its body during the beginnings of the film industry. I draw upon substantial archival research in articulating the experimentation and evolutionary aspects of national convention events as they formed ritualistic practices and promoted a sense of exclusivity among film exhibitors. This analysis includes the formation of the principle trade organization, NATO, in 1966 and its first convention, as well as the shift toward outsourcing conventions, like ShoWest, as the event industry evolved. Chapter Three begins the case study of CinemaCon, when NATO took back its convention from a for-profit organization and launched its own in 2011. I draw heavily upon three years of convention attendance (2014-2016) in addressing what CinemaCon is and how its programming, badging, trade show, panels and sessions reinforce the ritual of convention attendance in promoting an exclusive experience for exhibitors through the marketing of “hype” and “buzz.” These activities create opportunities for dialogue among exhibitors that highlight areas where the homogenization of exhibition is not definitive. Furthermore, Chapter Four continues building on this case study in addressing the activities—studio presentations, advanced screenings, NATO’s president John Fithian’s “CinemaCon State of the Industry” addresses, and the final awards ceremony—that occur in The Colosseum space. This exclusive space is viewed as a place where the three areas of the film industry unite, yet these industry stakeholders sometimes contradict one another as small fissures reveal discontent and points of conflict. This chapter reinforces my argument that field-configuring events, such as CinemaCon, are valuable research fields that provide inter- and intra- organizational insights from film exhibitors about film exhibition. CinemaCon is an event where industry knowledge is shared, unification is attempted, and the principle ‘voice’ of the film exhibition industry represented by NATO is made known.
205 pages
en
University of Kansas
Copyright held by the author.
openAccess
Film studies
cinemacon
exhibition
exhibitors
film
NATO
showest
CinemaCon: Identifying the Voice of the Film Exhibition Industry Through the National Association of Theatre Owners’ Field-Configuring Event, 2011-2018
Dissertation
Film & Media Studies
Ph.D.
oai:kuscholarworks.ku.edu:1808/117142020-09-30T13:46:21Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Krueger, Michael
Metzger, Jonathan David
Bitters, Shawn
Nam, Yoonmi
2013-08-24T22:21:59Z
2013-08-24T22:21:59Z
2013-05-31
2013
http://dissertations.umi.com/ku:12796
http://hdl.handle.net/1808/11714
Building a Foundation examines my personal history growing up in a Midwestern, conservative, farming community, within a family of boys. This exhibition of drawings and prints explores ideas of identity and the American male experience, and the distinct gender roles acted out by my father and mother. Through the use of vibrant colors, and images of various tools, everyday objects, and wooden structures, I am creating an alternate reality. In this space, I can question my past and present life as a man within contemporary Midwestern American culture.
16 pages
en
University of Kansas
This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
openAccess
Fine arts
Color
Drawing
Masculinity
Midwest
Prints
Tools
Building a Foundation
Thesis
Visual Art
M.F.A.
na
This item does not meet KU Open Access policy criteria.
8086253
oai:kuscholarworks.ku.edu:1808/218822018-01-31T20:07:51Zcom_1808_7799com_1808_1260col_1808_13991col_1808_1951
Velasco, Maria
Nixon, Patricia Ann
Velasco, Maria
Rosenthal, Benjamin
Batza, Katie
2016-11-10T23:05:55Z
2016-11-10T23:05:55Z
2016-05-31
2016
http://dissertations.umi.com/ku:14571
http://hdl.handle.net/1808/21882
My studio practice focuses on the intersection of sexuality and art. More specifically, I am locating my queer identity through a theoretical lens where pleasure, gender, and power come to the forefront in this Thesis. I examine the theories of philosophers Judith Butler and Michel Foucault as it relates to my work. Pornography scholarship of Margret Grebowicz is also an important part of the conversation in linking the sexually explicit image with my own questions regarding sex and art. My investigation into transgressive self-expression led to the formation of the exhibition Pleasure Pusher: Reimagining the Explicit Image.
29 pages
en
University of Kansas
Copyright held by the author.
openAccess
LGBTQ studies
Aesthetics
Gender studies
Digital Photography
New Media Arts
Queer Studies
Sexuality
Visual Arts
Visual Culture
Reimagining the Explicit Image: A Discourse on Transgressive Self-Expression and the Fe-male Body
Thesis
Visual Art
M.F.A.
dim///col_1808_13991/100