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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The depiction of female action heroes in modern blockbuster films has become more accurate throughout the years; however, the representation of women is still not as progressive as feminist scholars, actors, and viewers would like. This thesis explores two recent blockbuster films, Wonder Woman (2017) and Mad Max: Fury Road (2015), and how each film deals with the representation of women. While one could look to many cultural forms to explore such issues, films, “the most accessible representations of the past, present, and future of our society,” are particularly fertile ground for exploring gendered representations and stereotyping (Haskell, 1974). For much of Hollywood history, action films have used female protagonists as either passive, venerated symbols of perfect femininity, or objects of fascination and sexual pleasure for their male viewers. Or, if the female hero does have a degree of agency that allows her to push the plot forward, she is subject to moral scrutiny and frequently masculinized. In fact, the representation of women often falls into binary categories: the angelic damsel in distress, or the morally reprehensible, often masculinized, female villain. While the history of women’s representation in film more generally and action films more specifically is a long and complicated one that is beyond the scope of this project, recent action productions have exhibited notable shifts, both in terms of female characters’ box-office and narrative strength. However, both Wonder Woman and Mad Max: Fury Road, present viewers with examples of female representation that break through many of the misogynistic tropes that have dominated the genre for far too long. The key distinction between how both films destroy gendered stereotypes lies in the degrees to which the films allow their central female protagonists, and more minor female characters, to dominate the narrative and inhabit the composition of the screen. Wonder Woman tells the story of one powerful woman, whereas Fury Road utilizes a multitude of women in its story to defy gender stereotypes. While both films can be interpreted as empowering for female viewers, Wonder Woman gives its audience an easily digestible example of female agency; this is due to Wonder Woman allowing its famous comic book hero to comment and reject traditional women’s clothing, but also insists Diana be limited to hypersexualized battle armour and implicates that women cannot have love, power, and family. On the other hand, Fury Road presents viewers with a more radicalized gynocentric world in which, after considerable struggle and not without compromise, female characters not only have power, but wrest it away from the men who have abusively held onto control in the past. These two films also paved new ground for women in Hollywood production terms: giving women more power at the box-office and destroying the old-aged notion that female-centric films do not sell and make money at the same rate as male-centered ones do. Both Wonder Woman and Mad Max: Fury Road, in their own ways, depict that there is space for female action heroes to be more progressive and feminist in future blockbuster action films.
Home advantage affects the game in almost all team sports across the world. Due to<br/>COVID and all of the precautions being taken to keep games played, more extensive research is able to be conducted about what factors truly go into creating a home advantage. Some common factors of home advantage include the crowd, facility familiarity, and travel. In the English Premier League, there are no fans allowed at any of the games; furthermore, in the NBA, a bubble was created at one neutral venue with no fans in attendance. Even with the NBA being at a neutral site, there was still a “home team” at every game. The sports betting industry struggled due to failing to shift betting lines in accordance with this decreased home advantage. With these leagues removing some of the factors that are frequently associated with home advantage, analysts are able to better see what the results would be of removing these variables. The purpose of this research is to determine if these adjustments made due to COVID had an impact on the home advantage in different leagues around the world, and if they did, to what extent. Individual game data from the past 10 seasons were used for analysis of both the NBA and the Premier League. The results show that there is a significant difference in win percentage between prior seasons and seasons behind closed doors. In addition to win percentage, many other game statistics see a significant shift as well. Overall, the significance of being the home team disappears in games following the COVID-19 break.
For years, Commissioner Rob Manfred has hinted and brought about the idea of adding two more teams to Major League Baseball (Mitchell). The growth of the game is of utmost importance, and they have made many changes to try to expand the growth of fans the past few years particularly catered to new and young fans. New rules like a pitch clock and mound visit limitations are examples of in game changes made to speed up the game, but they have also experimented with spring training and regular season games internationally or at new venues. In just the past decade, games have been played or planned (due to COVID-19 cancellations) in Monterrey, Mexico City, London, Tokyo, San Juan, Montreal, Las Vegas, Williamsport, and even Iowa. With the exception of the Williamsport Little League Classic and the Field of Dreams game in Iowa, all these locations had games to see what the atmosphere and logistics would be like with expansion in mind as a possibility in the future. With this in mind, this thesis will analyze and come to a conclusion on the following cities for the best fits for expansion: Monterrey, Mexico City, San Juan, Vancouver, Montreal, Las Vegas, Portland, Nashville, Raleigh, and San Antonio.
Through the examination of Piper Chapman’s character development, the narrative structure of Orange is the New Black, and the historical context of its representation in comparison to previous iterations, this thesis analyzes the unique way in which the show approaches its characters, setting, and storylines. The main subjects of analysis are Piper, and her girlfriend Alex Vause, each representing the bisexual and lesbian communities, respectively, and the major tropes that will be discussed are “the experimenting bisexual,” “the criminal lesbian,” “the vampiric lesbian,” and “bury your gays.” Each trope plays a significant role on the show, but the way the show uses its narrative structure and character development creates a new approach to the subversion of said tropes. Orange is the New Black focuses on telling a more human story rather than creating a perfect representation, while it still maintains a positive image for its characters.