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Theory Jam is a series of online, education videos that teach music theory in a fun, engaging way. Our project is a response to the growing need for successful online education content. It incorporates strategies for creating effective educational video content and engages with contemporary debates in the field of

Theory Jam is a series of online, education videos that teach music theory in a fun, engaging way. Our project is a response to the growing need for successful online education content. It incorporates strategies for creating effective educational video content and engages with contemporary debates in the field of music theory surrounding the purpose of a music theory education.
ContributorsCannatelli, Joshua Bryce (Co-author) / Daval, Charles Joseph (Co-author) / Miller, April (Thesis director) / Scott, Jason (Committee member) / Tobias, Evan (Committee member) / Department of English (Contributor) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
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This paper will analyze the two films Mississippi Burning and BlacKkKlansman, as well as some of the historical contexts surrounding them, in order to unpack the various aspects of police brutality, protest culture, and ideals of reform shown within. Furthermore, it will investigate the impact of diverging from history

This paper will analyze the two films Mississippi Burning and BlacKkKlansman, as well as some of the historical contexts surrounding them, in order to unpack the various aspects of police brutality, protest culture, and ideals of reform shown within. Furthermore, it will investigate the impact of diverging from history on the perception of policing units, and the importance of more accurate narratives like BlacKkKlansman in popular culture. <br/> To find evidence that BlacKkKlansman is a much more accurate narrative regarding law enforcement and the effects that sentiments seen in Mississippi Burning have on modern day events, a comprehensive research analysis was conducted. Both films were watched multiple times and analyzed thoroughly, and further research was done to understand not only the narrative elements of the plot, but how the visual aspects strengthen the arguments both films try to make. Scholarly articles on contexts surrounding the subjects of the film were also analyzed, including topics on the FBI, Martin Luther King Jr, and police brutality. Through this, it became evident that Mississippi Burning overlooked most of the reality of the events the film is loosely based upon in order to present a white savior story, whereas BlacKkKlansman addresses the existing prejudices head on while also showing the relation the events have to a more modern context, specifically surrounding the Trump administration.

ContributorsDistler, Emily Suzanne (Author) / Foy, Joseph (Thesis director) / Miller, April (Committee member) / Department of Marketing (Contributor) / Department of English (Contributor) / The Sidney Poitier New American Film School (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
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This thesis traces the queer legacy of the Frankenstein myth from James Whale’s filmic adaptations, Frankenstein and Bride of Frankenstein, to Mexico’s first adaptation of the myth, El Monstruo Resucitado (1953). Chano Urueta’s El Monstruo Resucitado adapted the Frankenstein legend not from Mary Shelley’s source text but from Whale’s films,

This thesis traces the queer legacy of the Frankenstein myth from James Whale’s filmic adaptations, Frankenstein and Bride of Frankenstein, to Mexico’s first adaptation of the myth, El Monstruo Resucitado (1953). Chano Urueta’s El Monstruo Resucitado adapted the Frankenstein legend not from Mary Shelley’s source text but from Whale’s films, which themselves are infused with the queer sensibilities of a homosexual director. This new Mexican Frankenstein myth created a Monster that both reflects the culture of the Hollywood context from which it is adapted and responds to its own unique Mexican backdrop. Discussed only superficially in monster studies scholarship, El Monstruo Resucitado has rarely been examined for its contributions to Mexican horror cinema or queer horror studies as a whole. This thesis explores El Monstruo Resucitado's utility as a queer parable by working through José Esteban Muñoz’s theory of Disidentifications, positioning the film as a cultural object valuable to queer identity formation for minoritarian audiences in Mexico. By doing so, this thesis aims to broaden the conversation surrounding the role of the monster in culture and highlight Mexican monster horror like El Monstruo Resucitado as significant to the global tradition of the monster movie.
ContributorsPlata, Maxwell (Author) / Van Engen, Dagmar (Thesis director) / Miller, April (Committee member) / Barrett, The Honors College (Contributor) / School of Music, Dance and Theatre (Contributor)
Created2022-05