Uncle Dan is dead. He’s dead and Aunt Clara and Mike move across the country, leaving Jack and Jamie in their small Ohio town. Jamie spirals out of two relationships she thought would last forever, and Jack adventures across the country to bring back his cousin and return the family to a sense of normalcy. But the pair will soon realize that normal is relative and the truth is how you spin it, especially in the face of grief.

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.

The world of Tloren stands not alone. Tales from history and the lore of fictional settings alike have shaped a fantasy world as immersive as it is fantastical. This thesis catalogues the totality of inspirations behind seven of the major locations depicted in Tloren, the setting of the author’s own fantasy novel. Itself inspired by sensationalist archeological accounts from before the twentieth century, the following is a dissection of each place in exacting detail, weaving together narrative and academic discussion. Ultimately, the totality of inspirations behind Tloren will never be fully explored, yet it is the hope of the author that this thesis both stands alone as an account and guide for other aspiring worldbuilders as well as an appendix within the novel to further contextualize the locations therein.

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.”

A Conversation on Stuttering is a documentary film that is aimed at raising awareness about stuttering. Still not fully understood by modern research, stuttering (stammering in the UK) is a diagnosis often accompanied by years of ridicule, shame, and misconceptions. We set out to interview people who stutter, researchers, and clinicians alike to gain insight into the impact stuttering can have. Our participants in this documentary included four people who stutter, two clinicians, and 2 researchers (one of them being a person who stutters). The questions asked ranged from topics of physical and emotional aspects of stuttering to therapy experiences and research on what causes stuttering. From the mix of genuine, sometimes emotional, responses, the film captures flowing conversation on a range of experiences had by our interviewees. Through these responses, we hope to open further dialogue about the themes of identity, understanding our differences, and perspectives that can make a more accepting world.

A Conversation on Stuttering is a documentary film that is aimed at raising awareness about stuttering. Still not fully understood by modern research, stuttering (stammering in the UK) is a diagnosis often accompanied by years of ridicule, shame, and misconceptions. We set out to interview people who stutter, researchers, and clinicians alike to gain insight into the impact stuttering can have. Our participants in this documentary included four people who stutter, two clinicians, and 2 researchers (one of them being a person who stutters). The questions asked ranged from topics of physical and emotional aspects of stuttering to therapy experiences and research on what causes stuttering. From the mix of genuine, sometimes emotional, responses, the film captures flowing conversation on a range of experiences had by our interviewees. Through these responses, we hope to open further dialogue about the themes of identity, understanding our differences, and perspectives that can make a more accepting world.