Animal agriculture is a growing industry worldwide as the global demand for animal products increases. This has resulted in many harmful unintended consequences for human health, the environment, and animal welfare. This paper aims to uncover the hidden costs of negative externalities by answering the question: What types of subsidies is the US government distributing to the animal agriculture industry and in what amount? This paper will begin with some background on a few of the externalities created by the animal agriculture industry focusing specifically on environmental issues of water, air, and deforestation. Once this background is established, this will show that animal agriculture is in fact a negative-externality-generating industry. Next, subsidies will be defined and the principal findings of the research will reveal the different forms of support that the US government provides to animal agriculture. Lastly, these subsidies, both direct and indirect, will be quantified.

This thesis will examine possible connection points between the health of a local environmental/climate news ecosystem and that local community’s belief in and vulnerability to the effects of climate change in Central Appalachia and Northern Virginia. The three counties that will be studied in Virginia are Arlington, Buchanan and Wise Counties. This research will be mainly a hypothesis-generating descriptive analysis of data, coupled with both interviews with researchers and local experts, in addition to observations from relevant literature about the possible connections between availability of environmental news with climate change, institutional belief and climate vulnerability data. The local history of resource extraction will also be explored. The point of this thesis is not to prove that a lack of access to strong, locally focused climate and environmental news increases vulnerability to the effects of climate change (although it does raise this as a possibility). Rather, it is to continue a conversation with journalists, media professionals and climate professionals about how to approach understanding and engaging groups left out of the climate conversation and groups who've been traditionally underserved by news media when it comes to climate information and appeals for institutional trust. This conversation is already happening, especially when it comes to the importance of the health of local, community focused news in general in Appalachia, but given the urgency and scale of the climate crisis, merits continuation and some inquiry into environmental news.

Acrylic paint is one of the most prominent supplies in the art field as it has many qualities that make it the most desirable paint, including affordability, versatility, and a fast drying time. Despite acrylic paint’s great contribution to the art field and art history, its chemical makeup and ingredients damage the local environment and aquatic ecosystems. Acrylic paint is essentially liquid latex that, when it enters sewage systems, releases microplastics directly into the waterways as well as contains harmful chemicals such as heavy metals, benzene products, or vinyl chloride. The purpose of this project was to research the qualities of acrylic paint most important to users, as well as learn information regarding people’s current usage of paint and their perspectives on paint-related environmental issues. Furthermore, I have recorded my process and published videos on social media to gain insight and feedback. Using this data, I have experimented with making a sustainable version of acrylic paint that remains desirable. Throughout this project, I have used different natural materials to create pigments and an acrylic medium and contribute my perceptions on the desirability of each alternative in this thesis.

Food waste is a crucial issue in stores, restaurants and other institutions. Specifically, there is a high amount of food waste in grocery stores, especially in the produce section. As a result, environmental damage occurs, and many individuals struggle to have food in their homes. This thesis will analyze the cause, quantity, and effect of this waste, and how it can be changed or mitigated. An overarching question was posed to analyze these causes and effects of waste, asking how does the amount of produce waste that occurs in Scottsdale, Arizona contribute to environmental issues and what is being done to remedy this issue? As this is a difficult question to answer on its own, the research was broken down into two more answerable questions, which are Why does produce get wasted in grocery stores? How much of this occurs? and What remedies already exist to limit/reduce this waste? These questions are important because they contribute to knowledge and understanding about food waste, consumer waste, as well as the overall environmental impact of being wasteful. It is also important for both retailers and consumers to understand that waste has an immense and negative impact on the environment and contributes to climate change, and that taking steps to reduce this waste is essential.

In this project, I analyze representative samples from three different fashion brands’ sustainability-related informational materials provided to the public through their websites, annual reports, and clothing tags that promote the company’s environmental initiatives. The three companies were chosen because they each represent global fashion- they are all extremely large, popular, and prevalent brands. These materials are evaluated against three frameworks for identifying deceptive greenwashing claims. I identify instances in which these frameworks are successful in categorizing deceptive claims from these companies as well as instances in which they appear to be vulnerable. To address the vulnerabilities I discover in the three existing frameworks for identifying greenwashing, I propose six new guidelines to be used in conjunction with these frameworks that will help to ensure that consumers can have a more ample toolbox to identify deceptive sustainability claims.

The recent films of both Spike Lee and Adam McKay have been explicitly political in their respective thematic focuses. The former’s Chi-Raq (2015) adapted an ancient Greek comedy into a commentary on the state of violence in America’s inner-cities and more recent BlacKkKlansman (2018) adapted the memoir of a black police officer’s infiltration into a local chapter of the Ku Klux Klan. The latter’s The Big Short (2015) adapted Michael Lewis’ bestselling book on the 2008 Financial Crisis into a farcical satire of economic greed, while his next film, Vice (2018), took a similarly scathing approach in depicting the life of former vice president Dick Cheney. While both McKay and Lee have their own unique filmmaking styles, their approach in these four films reveals both filmmakers to be working in the ideological tradition of postmodernism. These directors’ revival of postmodern aesthetic strategies in the 21st century has resulted in sophisticated artistic statements that cut through the political apathy and nihilism of our day. Their fast-paced films, saturated with paradoxes, allusions, and meta-commentaries, manage to keep today’s media-savvy audiences on edge and in a state of unstable equilibrium. This project argues that while both directors are fascinated by the deconstructionist potential that postmodern aesthetic strategies present, a key difference emerges when analyzing their respective political projects: while Lee fully embodies the postmodern mindset in both his narrative structures and thematic insights, McKay’s desire to persuade the audience to take a passionate stand ultimately makes his art transcend the traditional postmodernist stance of neutral, non-judgmental, or ironic acceptance of multiple truths. By comparing Lee’s approach to one of the most popular filmmakers of the day in McKay, this project situates Lee’s canonical style in the modern, ultra-partisan moment.

This thesis evaluates how films from Western Europe portray the social, political and economic degradation that allows the American influence to rise leading up to the Cold War. Specifically, this thesis evaluates classic films from Weimar Germany, the Soviet Union, post-fascist Italy and post-Vichy France as historical and cultural artifacts that depict the harsh conditions of postwar life and how American influence revitalized daily European life. While the American influence (defined as the support of democracy, technological modernization and a capitalist economy) was supported by many struggling Europeans who looked to the United States as a standard to rebuild, critics from each country viewed American influence as a threat to the stability of national independence which they sought to maintain as recovery balanced postwar society.

An entire decade of films that emerged from the Hollywood system during the blockbuster era of the 1980s is often summed up as one marked by a “curious and disturbing phenomenon of children’s films conceived and marketed largely for adults — films that construct the adult spectator as a child, or, more precisely, as a childish adult, an adult who would like to be a child.” If it is possible, as film theorist Siegfried Kracauer proposed, that “in recording the visible world — whether current reality or an imaginary universe — films … provide clues to hidden mental processes,” what are we to deduce about the mental processes of the American public who would pay to sit in a movie theater and watch Raiders of the Lost Ark (1981) or Rambo: First Blood (1982) for multiple viewings? In addressing this questions it may be helpful to turn again to Krakauer, who reminds us that a box office “hit may cater only to one of many co-existing [mass] demands, and not even a very specific one,” and that even if one could draw conclusions about the “peculiar mentality of a nation” by analyzing the “pictorial and narrative motifs” of box office hits, this “by no means implies a fixed national character.” This is a key insight because it implies a diverse national character composed of mass demands that remain unmet by the “children’s films” produced for adults which remain emblematic of Hollywood during the 1980s. In this thesis, I argue that the mainstream Hollywood film Beverly Hills Cop contradicts this notion because it employs sophisticated strategies to work as resistance against the dominant American cultural ideologies of the mid-1980s. I briefly contextualize the film in its historical and cultural setting. Then, I analyze three narrative aspects of the film. First, I begin with the various interactions Eddie Murphy’s character Axel Foley has with several “gatekeepers” throughout the film. Next, I analyze a scene in which Foley is assaulted by Sgt. Taggart of the Beverly Hills Police Department. Finally, I analyze Foley’s relationships with the supporting characters Mikey and Jenny. Beverly Hills Cop is one of the most popular and successful American films of the 1980s. Its subversiveness suggests the possibility that a host of other popular films from the decade are similarly sophisticated. This points to the need for a reexamination of a decade of American cinema that has been cast as “children’s films conceived and marketed largely for adults.”