Barrett, The Honors College Thesis/Creative Project Collection
Barrett, The Honors College at Arizona State University proudly showcases the work of undergraduate honors students by sharing this collection exclusively with the ASU community.
Barrett accepts high performing, academically engaged undergraduate students and works with them in collaboration with all of the other academic units at Arizona State University. All Barrett students complete a thesis or creative project which is an opportunity to explore an intellectual interest and produce an original piece of scholarly research. The thesis or creative project is supervised and defended in front of a faculty committee. Students are able to engage with professors who are nationally recognized in their fields and committed to working with honors students. Completing a Barrett thesis or creative project is an opportunity for undergraduate honors students to contribute to the ASU academic community in a meaningful way.
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- All Subjects: Film
- Creators: School of Geographical Sciences and Urban Planning
Description
In this paper, I analyze representations of nature in popular film, using the feminist / deconstructionist concept of a dualism to structure my critique. Using Val Plumwood’s analysis of the logical structure of dualism and the 5 ‘features of a dualism’ that she identifies, I critique 5 popular movies – Star Wars, Lord of the Rings, Brave, Grizzly Man, and Planet Earth – by locating within each of them one of the 5 features and explaining how the movie functions to reinforce the Nature/Culture dualism . By showing how the Nature/Culture dualism shapes and is shaped by popular cinema, I show how “Nature” is a social construct, created as part of this very dualism, and reified through popular culture. I conclude with the introduction of a number of ‘subversive’ pieces of visual art that undermine and actively deconstruct the Nature/Culture dualism and show to the viewer a more honest presentation of the non-human world.
ContributorsBarton, Christopher Joseph (Author) / Broglio, Ron (Thesis director) / Minteer, Ben (Committee member) / Barrett, The Honors College (Contributor) / School of Sustainability (Contributor) / School of Mathematical and Statistical Sciences (Contributor) / School of Geographical Sciences and Urban Planning (Contributor)
Created2015-05
Description
I am double majoring in Film & Media Production and Geography, and whenever I tell anyone that their first reaction is one of polite incredulity. The two disciplines seem so far from each other that there doesn't seem to be any possible way of combining them. With this project, I wanted to incorporate these two very different fields into one meaningful product. Using film as a medium, I explored how impactful a geographical location can truly be on someone. When we think about our pasts, we often focus on the people and events, losing sight of the physical location where these memories take place. Life in a Museum attempts to shine a light on this forgotten aspect of memory. I moved to Prescott, Arizona when I was 11 and moved away when I was 18, living there for only 7 years. Yet as time passes, I am starting to realize how impactful Prescott has been on me. For my Honors Creative Project, I created a video essay in an attempt to "map" my relationship with Prescott and how it has changed over time. Incorporating digital video, Google SketchUp Animations and historical photographs, Life in a Museum acts as collage that attempts to mimic the tangential aspects of memory. The film addresses my upbringing in Prescott, the town's intense pride for its history, and how living there has affected my own perception of time, memory, death and the future. Link to video: https://vimeo.com/126633587
ContributorsJones, Zachary Loren (Author) / Larson, Elizabeth (Thesis director) / Kitson, Jennifer (Committee member) / Barrett, The Honors College (Contributor) / School of Geographical Sciences and Urban Planning (Contributor) / School of Film, Dance and Theatre (Contributor)
Created2015-05
Description
Popular culture has a longstanding tendency for being affected by, and reversely affecting, politics. Films, in particular, can exist as either purse “escapism” or heady pathways for political commentary. During the Second World War, governments in both the United States and Great Britain used film as a vessel for their own messages, but after the war ended, the two nations allowed their respective film industries more free expression in commenting on wartime and post-war politics. Film also provided particularly vivid political commentary during, and in the years immediately following, the Cold War. Though film has a longstanding history of being a force for political commentary, the medium’s specific engagement with the Cold War holds particular significance because works produced by the two nations’ film industries paralleled the social trend toward political activism at the time. While films produced in the UK and the United States in the 1960s addressed a wide range of contentious political issues, a huge body of work was spurred on by one of the most pressing political tensions of the time: namely, the Cold War.
The United States and Great Britain were major, allied forces during the Cold War. Despite their allied positions, they had unique politico-social perspectives that greatly reflected their immediate involvement in the conflict, in addition to their respective political histories and engagement in previous wars. As the Cold War threat was a large and, in many ways, incomprehensible one, each country took certain elements of the Cold War situation and used those elements to reflect their varied political social positions to a more popular audience and the culture it consumed.
In turn, filmmakers in both countries used their mediums to make overarching political commentaries on the Cold War situation. This analysis looks at five films from those countries during the 1960s, and explores how each representation offered different, often conflicting, perspectives on how to “manage” Cold War tensions, while simultaneously reflecting their conflicted culture and political decisions. The films analyzed reveal that each country focused on contrasting perceptions about the source of the threat posed by Soviet forces, thus becoming tools to further promote their distinct political stances. While the specifics of that commentary changed with each filmmaker, they generally paralleled each country’s perspective on the overall Cold War atmosphere. The British message represented the Cold War as a very internal battle—one that involved the threat within UK borders via the infiltration of spies the tools of espionage. In contrast, the American films suggest that the Cold War threat was largely an internal one, a struggle best combatted by increasing weaponry that would help control the threat before it reached American borders.
The United States and Great Britain were major, allied forces during the Cold War. Despite their allied positions, they had unique politico-social perspectives that greatly reflected their immediate involvement in the conflict, in addition to their respective political histories and engagement in previous wars. As the Cold War threat was a large and, in many ways, incomprehensible one, each country took certain elements of the Cold War situation and used those elements to reflect their varied political social positions to a more popular audience and the culture it consumed.
In turn, filmmakers in both countries used their mediums to make overarching political commentaries on the Cold War situation. This analysis looks at five films from those countries during the 1960s, and explores how each representation offered different, often conflicting, perspectives on how to “manage” Cold War tensions, while simultaneously reflecting their conflicted culture and political decisions. The films analyzed reveal that each country focused on contrasting perceptions about the source of the threat posed by Soviet forces, thus becoming tools to further promote their distinct political stances. While the specifics of that commentary changed with each filmmaker, they generally paralleled each country’s perspective on the overall Cold War atmosphere. The British message represented the Cold War as a very internal battle—one that involved the threat within UK borders via the infiltration of spies the tools of espionage. In contrast, the American films suggest that the Cold War threat was largely an internal one, a struggle best combatted by increasing weaponry that would help control the threat before it reached American borders.
ContributorsNelson, Taylor Lynn (Author) / Miller, April (Thesis director) / O'Flaherty, Katherine (Committee member) / Walter Cronkite School of Journalism and Mass Communication (Contributor) / School of Historical, Philosophical and Religious Studies (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05