Matching Items (4)
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- All Subjects: Film Studies
- All Subjects: Legal Rhetoric
- Creators: Lamp, Kathleen
- Creators: Abele, Kelsey Taylor
Description
The connection between Hollywood costume design and the films of the 007/James Bond franchise, especially in regards to the changing perspective of the “Bond Girl”, is an intricate relationship that has previously been little researched. In the most recent Bond films, in particular, the female characters have become more powerful than the early characters and their roles within the narratives have changed with their characters taking on stronger and more integral roles. This thesis seeks to examine the films of the 007/James Bond franchise and how the rhetoric of the franchise’s costume design affects the representation of femininity and power in regards to the Bond Girls. After an overview of Bond history and costume theory, two films are analyzed as case studies: Dr. No (1962) which marks the beginning of the film franchise and Casino Royale (2006), which marks the more recent turn the films have taken. This thesis examines how the representations of Bond Girls and the use of costume design for their characters have changed over the course of the franchise from the days of Sean Connery to the recent reboot of the franchise with Daniel Craig as 007 James Bond. In addition to an examination of Bond Girl costume design, this thesis considers the role and influence of the costume designers. A designer’s vision of a character is derived from both the writing and the physical features of the actresses before them. Here this thesis considers how the rhetorical choices made by designers have contributed to an understanding of the relationship between femininity and power. Finally it shows how the costumes effect the power of the female characters and how the Bond Girls of today (Casino Royale) compare and/or contrast to Bond Girls of the past (Dr. No). This thesis combines the areas of feminist film theory and costume theory to provide an original rhetorical analysis of the Bond series in relation to costume design and examines the rhetorical statements made by the costume designers in their designs for the characters and how those statements influence the representations of the characters.
ContributorsSeverson, Andrea (Author) / Goggin, Maureen (Thesis advisor) / Ore, Ersula (Committee member) / Lamp, Kathleen (Committee member) / Arizona State University (Publisher)
Created2013
DescriptionThe project analyzes the history of indie music and culture, and how the aesthetic has been undermined by the modern music industry. The project discusses rhetorical theory on the nature of publics, including group identification through rhetorical discourse as expressed through indie culture.
ContributorsBisbee, Evan Owens (Author) / Lamp, Kathleen (Thesis director) / Mook, Richard (Committee member) / Berry, Shavawn (Committee member) / Barrett, The Honors College (Contributor) / Department of English (Contributor)
Created2013-05
Description
Rather than being the lawless barbarian society that history and popular culture have painted it, medieval Scandinavian culture was more complex and nuanced. This dissertation interrogates the use of a rhetoric of reasonableness (hóf) in the medieval Nordic society to give voice to this silenced tradition. Specifically, this research focuses on the use of rhetoric in civic and legal settings to show that medieval Scandinavians were more interested in reasonable solutions than unreasonable ones.
Civic rhetoric among the medieval Nordic people relied heavily on hóf to keep civic practice manageable. Working in small towns and villages without central bureaucracies, reasonableness became important to the functioning of the village. Large scale disruptions could mean the death of all inhabitants in the area due to social disruption if violence occurred, so finding reasonable means of dealing with social problems was of paramount importance to the Norse. Using readings and analysis from the Icelandic sagas, I show the mechanisms of their rhetoric were used to manage civic life.
Legal rhetoric was also based on reasonableness. If civic actions became violent or potentially violent, then the courts needed a way to redress and maintain the peace in the area. The practice of law was heavily influenced by the rhetorical stance of hóf. The Scandinavian tradition of court cases appears in their early laws and in several sagas which allows a picture to be created of their rhetorical stance of reasonableness in the law cases. Analysis of historical data and saga manuscripts give evidence of a rhetorical tradition of reasonable redress in the legal system.
Civic rhetoric among the medieval Nordic people relied heavily on hóf to keep civic practice manageable. Working in small towns and villages without central bureaucracies, reasonableness became important to the functioning of the village. Large scale disruptions could mean the death of all inhabitants in the area due to social disruption if violence occurred, so finding reasonable means of dealing with social problems was of paramount importance to the Norse. Using readings and analysis from the Icelandic sagas, I show the mechanisms of their rhetoric were used to manage civic life.
Legal rhetoric was also based on reasonableness. If civic actions became violent or potentially violent, then the courts needed a way to redress and maintain the peace in the area. The practice of law was heavily influenced by the rhetorical stance of hóf. The Scandinavian tradition of court cases appears in their early laws and in several sagas which allows a picture to be created of their rhetorical stance of reasonableness in the law cases. Analysis of historical data and saga manuscripts give evidence of a rhetorical tradition of reasonable redress in the legal system.
ContributorsLively, Robert (Author) / Lamp, Kathleen (Thesis advisor) / Bjork, Robert E. (Committee member) / Goggin, Peter (Committee member) / Arizona State University (Publisher)
Created2020
Description
I center my analysis on Amazon’s recent foray into alternative history The Man in the High Castle premised on Philip K. Dick’s 1962 novel of the same name. Amazon Studio’s production The Man in the High Castle builds upon the premise of an alternative history where World War II ends differently. Here, the diegetic narrative depicts a United States split into three distinct regions: the east coast, now part of the German Reich; the Neutral Zone, or most of the Midwest and the Rocky Mountains; and the west coast, controlled by Japanese Empire. The film version debuted in 2015 as a series extending to four seasons of 10 episodes a piece by 2019. I argue that the show takes cues from modern political tensions, the rise of the alt-right and “post-truth” media manipulations, to intentionally destabilize viewers’ memories of the historical past. By blurring the boundaries between the diegetic reality of the show and our accepted version of history, The Man in the High Castle disrupts the facility in which the viewer assumes alignment with memory and past, opting instead for a complicated refiguring of the political present. Here I articulate how film as a medium tampers with the viewer’s ontological understanding of image by collapsing history and fiction together. Additionally, the capacity of film to provoke empathy from viewers complicates the universal condemnation of Nazism we are familiar with and permits viewers to see the banality of evil in this reimagined history. Finally, I discuss how film as a medium capitalizes on the incompleteness of memory and the loopholes of history to fabricate viewer memory.
ContributorsAbele, Kelsey Taylor (Author) / Brouwer, Daniel (Thesis advisor) / Carlson, Adina (Committee member) / Hedberg Olenina, Ana (Committee member) / Arizona State University (Publisher)
Created2020