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- All Subjects: Film
- Creators: Green, Matthew
- Creators: School of International Letters and Cultures
Description
This paper aims to investigate how the portrayal of the crusaders in twentieth and twenty-first century film has evolved and how they have become tools in serving contemporary goals, including those of individual filmmakers and broad societal ideologies. Through the analysis of five films, in both narrative and cinematography, spanning from the 1950s until 2011, themes of redemption, maturity, and the dichotomy of "good" and "bad" are discussed, as well as their chronological evolution in regards to the crusading hero. These films, widely ranging in historical subject matter and country of origin, show a greater range of evolution for the holy war hero and the important themes widely associated with them.
ContributorsBowman, Taylor Nicole (Author) / Benkert, Volker (Thesis director) / Bruhn, Karen (Committee member) / Miller, April (Committee member) / Barrett, The Honors College (Contributor) / School of Historical, Philosophical and Religious Studies (Contributor)
Created2015-05
Description
Popular culture has a longstanding tendency for being affected by, and reversely affecting, politics. Films, in particular, can exist as either purse “escapism” or heady pathways for political commentary. During the Second World War, governments in both the United States and Great Britain used film as a vessel for their own messages, but after the war ended, the two nations allowed their respective film industries more free expression in commenting on wartime and post-war politics. Film also provided particularly vivid political commentary during, and in the years immediately following, the Cold War. Though film has a longstanding history of being a force for political commentary, the medium’s specific engagement with the Cold War holds particular significance because works produced by the two nations’ film industries paralleled the social trend toward political activism at the time. While films produced in the UK and the United States in the 1960s addressed a wide range of contentious political issues, a huge body of work was spurred on by one of the most pressing political tensions of the time: namely, the Cold War.
The United States and Great Britain were major, allied forces during the Cold War. Despite their allied positions, they had unique politico-social perspectives that greatly reflected their immediate involvement in the conflict, in addition to their respective political histories and engagement in previous wars. As the Cold War threat was a large and, in many ways, incomprehensible one, each country took certain elements of the Cold War situation and used those elements to reflect their varied political social positions to a more popular audience and the culture it consumed.
In turn, filmmakers in both countries used their mediums to make overarching political commentaries on the Cold War situation. This analysis looks at five films from those countries during the 1960s, and explores how each representation offered different, often conflicting, perspectives on how to “manage” Cold War tensions, while simultaneously reflecting their conflicted culture and political decisions. The films analyzed reveal that each country focused on contrasting perceptions about the source of the threat posed by Soviet forces, thus becoming tools to further promote their distinct political stances. While the specifics of that commentary changed with each filmmaker, they generally paralleled each country’s perspective on the overall Cold War atmosphere. The British message represented the Cold War as a very internal battle—one that involved the threat within UK borders via the infiltration of spies the tools of espionage. In contrast, the American films suggest that the Cold War threat was largely an internal one, a struggle best combatted by increasing weaponry that would help control the threat before it reached American borders.
The United States and Great Britain were major, allied forces during the Cold War. Despite their allied positions, they had unique politico-social perspectives that greatly reflected their immediate involvement in the conflict, in addition to their respective political histories and engagement in previous wars. As the Cold War threat was a large and, in many ways, incomprehensible one, each country took certain elements of the Cold War situation and used those elements to reflect their varied political social positions to a more popular audience and the culture it consumed.
In turn, filmmakers in both countries used their mediums to make overarching political commentaries on the Cold War situation. This analysis looks at five films from those countries during the 1960s, and explores how each representation offered different, often conflicting, perspectives on how to “manage” Cold War tensions, while simultaneously reflecting their conflicted culture and political decisions. The films analyzed reveal that each country focused on contrasting perceptions about the source of the threat posed by Soviet forces, thus becoming tools to further promote their distinct political stances. While the specifics of that commentary changed with each filmmaker, they generally paralleled each country’s perspective on the overall Cold War atmosphere. The British message represented the Cold War as a very internal battle—one that involved the threat within UK borders via the infiltration of spies the tools of espionage. In contrast, the American films suggest that the Cold War threat was largely an internal one, a struggle best combatted by increasing weaponry that would help control the threat before it reached American borders.
ContributorsNelson, Taylor Lynn (Author) / Miller, April (Thesis director) / O'Flaherty, Katherine (Committee member) / Walter Cronkite School of Journalism and Mass Communication (Contributor) / School of Historical, Philosophical and Religious Studies (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
The Walt Disney Company has been a worldwide phenomenon for over half a century. Disney's animated films in particular impact a large number of individuals around the world. The fact that they rerelease popular films every few years lends to the lasting influence these movies will hold in the lives of children to come. It is important to examine the messages Disney animated films can teach children in regards to women's roles, United States history, and racial difference. This essay examines these topics as they appear in Disney's Snow White and the Seven Dwarves, The Little Mermaid, Pocahontas, and The Lion King. Lastly, it examines the potential impact these films can leave on children and suggests ways in which adults can help children analyze what they see in the media.
ContributorsMonnig, Elizabeth Ann (Author) / Baker, Aaron (Thesis director) / Sandlin, Jennifer (Committee member) / Barrett, The Honors College (Contributor) / School of Film, Dance and Theatre (Contributor) / Department of English (Contributor) / School of Historical, Philosophical and Religious Studies (Contributor)
Created2014-12
Description
While studying in Japan, I became fascinated by the variety shows my roommates would watch. These shows featured a flexible format with comedians and other entertainers participating in a wide variety of activities. For my senior creative project, I decided to determine what features were essential to Japanese variety shows, and to then use these features to create my own program.
In order to determine the essential features of Japanese variety television, I watched a total of 22 episodes of three popular Japanese variety shows: Gaki no tsukai ya arahende (ダウンタウンのガキの使いやあらへんで! Usually abbreviated as ガキの使い), London Hearts (ロンドンハーツ), and Utaban (うたばん). I chose these three shows because of their differing styles, popular comedic hosts, and impressive longevity, with a combined 58 years of runtime. Through my research, I was able to assemble the analyses of basic and technical features found in the next section of this document in addition to several pages of my own notes used to design my original program.
My own program, American Joke (アメリカンジョーク), is meant to be filmed in America featuring an entirely Japanese cast. The main idea of the show is to capitalize on the comedic potential of cultural differences by having Japanese comedians interact with American people and traditions.
In order to showcase the show, I filmed a short “sizzle reel” video featuring Japanese exchange students as the cast. Segments filmed included our “comedians” learning the high jump from ASU track athletes, bringing Japanese fermented soybeans to campus for American students to taste, and participating in an American-themed quiz show.
In order to determine the essential features of Japanese variety television, I watched a total of 22 episodes of three popular Japanese variety shows: Gaki no tsukai ya arahende (ダウンタウンのガキの使いやあらへんで! Usually abbreviated as ガキの使い), London Hearts (ロンドンハーツ), and Utaban (うたばん). I chose these three shows because of their differing styles, popular comedic hosts, and impressive longevity, with a combined 58 years of runtime. Through my research, I was able to assemble the analyses of basic and technical features found in the next section of this document in addition to several pages of my own notes used to design my original program.
My own program, American Joke (アメリカンジョーク), is meant to be filmed in America featuring an entirely Japanese cast. The main idea of the show is to capitalize on the comedic potential of cultural differences by having Japanese comedians interact with American people and traditions.
In order to showcase the show, I filmed a short “sizzle reel” video featuring Japanese exchange students as the cast. Segments filmed included our “comedians” learning the high jump from ASU track athletes, bringing Japanese fermented soybeans to campus for American students to taste, and participating in an American-themed quiz show.
ContributorsAmkraut, Elliott R. (Author) / Chambers, Anthony (Thesis director) / Wilson, Bradley (Committee member) / Maday, Gregory (Committee member) / Barrett, The Honors College (Contributor) / Department of Economics (Contributor) / School of International Letters and Cultures (Contributor)
Created2014-05
Description
The Soviet Union suffered immensely as a result of World War II. When the dust settled and Soviet citizens began to rebuild their lives, the memory of the social, economic, and human costs of the war still remained. The Soviet state sought to frame the conflict in a way that provided meaning to the chaos that so drastically shaped the lives of its citizens. Film was one such way. Film, heavily censored until the Gorbachev period, provided the state with an easily malleable and distributable means of sharing official history and official memory. However, as time went on, film began to blur the lines between official memory and real history, providing opportunities for directors to create stories that challenged the regime's official war mythology. This project examines seven Soviet war films (The Fall of Berlin (1949), The Cranes are Flying (1957), Ballad of a Soldier (1959), Ivan's Childhood (1962), Liberation (1970-1971), The Ascent (1977), and Come and See (1985)) in the context of the regimes under which they were released. I examine the themes present within these films, comparing and contrasting them across multiple generations of Soviet post-war memory.
ContributorsScribner, Quinton Donald (Author) / Benkert, Volker (Thesis director) / Von Hagen, Mark (Committee member) / Manchester, Laurie (Committee member) / Barrett, The Honors College (Contributor) / School of International Letters and Cultures (Contributor) / School of Politics and Global Studies (Contributor) / School of Historical, Philosophical and Religious Studies (Contributor)
Created2014-05
Description
The Soviet Union suffered immensely as a result of World War II. When the dust settled and Soviet citizens began to rebuild their lives, the memory of the social, economic, and human costs of the war still remained. The Soviet state sought to frame the conflict in a way that provided meaning to the chaos that so drastically shaped the lives of its citizens. Film was one such way. Film, heavily censored until the Gorbachev period, provided the state with an easily malleable and distributable means of sharing official history and official memory. However, as time went on, film began to blur the lines between official memory and real history, providing opportunities for directors to create stories that challenged the regime's official war mythology. This project examines seven Soviet war films (The Fall of Berlin (1949), The Cranes are Flying (1957), Ballad of a Soldier (1959), Ivan's Childhood (1962), Liberation (1970-1971), The Ascent (1977), and Come and See (1985)) in the context of the regimes under which they were released. I examine the themes present within these films, comparing and contrasting them across multiple generations of Soviet post-war memory.
ContributorsScribner, Quinton Donald (Author) / Benkert, Volker (Thesis director) / Von Hagen, Mark (Committee member) / Manchester, Laurie (Committee member) / Barrett, The Honors College (Contributor) / School of International Letters and Cultures (Contributor) / School of Politics and Global Studies (Contributor) / School of Historical, Philosophical and Religious Studies (Contributor)
Created2014-05
Description
Japanese animated film director Hayao Miyazaki is famous for his numerous film featuring female protagonists. These protagonists have been examined for their conformance and deviance with regard to widespread stereotypes of masculine and feminine traits. Miyazaki's female characters tend to exhibit nuanced and varied traits, with a balance of traditionally masculine and feminine characteristics. They also tend to demonstrate and moralize on larger social issues such as environmentalism and gender equality, advancing ideals for both Japanese and Western feminism. The status of these female protagonists as cultural icons is contrary to wider film trends that exclude women from the spotlight except when they conform to rigid gender roles.
ContributorsNevitt, Stephanie Nicole (Author) / Facinelli, Diane (Thesis director) / Creamer, John (Committee member) / Whitesman, Linda (Committee member) / Barrett, The Honors College (Contributor) / School of International Letters and Cultures (Contributor) / School of Politics and Global Studies (Contributor)
Created2013-05
Description
I argue that a morally heavy, poorly researched, emotionally powerful piece of non-fiction media with complex subject matter shown to an ill-equipped audience is unethical. I then evaluate methods of avoiding unethical situations from the perspective of media creators. I conclude by calling for a strictly diligence based ratings board anchored in the professional guilds of the entertainment industry.
ContributorsBroderick, Nathan Andrew (Author) / Maday, Gregg (Thesis director) / Watson, Jeffrey (Committee member) / Barrett, The Honors College (Contributor) / School of Film, Dance and Theatre (Contributor) / School of Historical, Philosophical and Religious Studies (Contributor)
Created2014-12
Description
This short documentary on the Equal Rights Amendment features attorney Dianne Post and State Representative Jennifer Jermaine, and it examines the fight for passage at the federal and state level. This film attempts to answer the following questions: What is the ERA? What is its history? Why do we need it? How do we get it into the Constitution of the United States of America?
The text of the Equal Rights Amendment (ERA) states that “equality of rights under the law shall not be denied or abridged by the United States or by any state on account of sex.” The amendment was authored by Alice Paul and was first introduced into Congress in 1923. The ERA did not make much progress until 1970, when Representative Martha Griffiths from Michigan filed a discharge petition demanding that the ERA move out of the judiciary committee to be heard by the full United States House of Representatives. The House passed it and it went on to the Senate, where it was approved and sent to the states for ratification. By 1977, 35 states had voted to ratify the ERA, but it did not reach the 38 states-threshold required for ratification before the 1982 deadline set by Congress. More recently, Nevada ratified the ERA in March 2017, and Illinois followed suit in May 2018. On January 27th, 2020, Virginia finalized its ratification, making it the 38th state to ratify the Equal Rights Amendment.
Supporters of the ERA argue that we have reached the required goal of approval by 38 states. However, opponents may have at least two legal arguments to challenge this claim by ERA advocates. First, the deadline to ratify was 1982. Second, five states have voted to rescind their ratification since their initial approval. These political and legal challenges must be addressed and resolved before the ERA can be considered part of the United States Constitution. Nevertheless, ERA advocates continue to pursue certification. There are complicated questions to untangle here, to be sure, but by listening to a variety of perspectives and critically examining the historical and legal context, it may be possible to find some answers. Indeed, Arizona, which has yet to ratify the ERA, could play a vital role in the on-going fight for the ERA.
The text of the Equal Rights Amendment (ERA) states that “equality of rights under the law shall not be denied or abridged by the United States or by any state on account of sex.” The amendment was authored by Alice Paul and was first introduced into Congress in 1923. The ERA did not make much progress until 1970, when Representative Martha Griffiths from Michigan filed a discharge petition demanding that the ERA move out of the judiciary committee to be heard by the full United States House of Representatives. The House passed it and it went on to the Senate, where it was approved and sent to the states for ratification. By 1977, 35 states had voted to ratify the ERA, but it did not reach the 38 states-threshold required for ratification before the 1982 deadline set by Congress. More recently, Nevada ratified the ERA in March 2017, and Illinois followed suit in May 2018. On January 27th, 2020, Virginia finalized its ratification, making it the 38th state to ratify the Equal Rights Amendment.
Supporters of the ERA argue that we have reached the required goal of approval by 38 states. However, opponents may have at least two legal arguments to challenge this claim by ERA advocates. First, the deadline to ratify was 1982. Second, five states have voted to rescind their ratification since their initial approval. These political and legal challenges must be addressed and resolved before the ERA can be considered part of the United States Constitution. Nevertheless, ERA advocates continue to pursue certification. There are complicated questions to untangle here, to be sure, but by listening to a variety of perspectives and critically examining the historical and legal context, it may be possible to find some answers. Indeed, Arizona, which has yet to ratify the ERA, could play a vital role in the on-going fight for the ERA.
ContributorsSchroder, Jude Alexander (Author) / Adelman, Madelaine (Thesis director) / Mitchell, Kathryn (Committee member) / School of Politics and Global Studies (Contributor, Contributor, Contributor) / School of International Letters and Cultures (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
A posthuman figure like the female cyborg challenges traditional humanist feminism in ways that make room for theorizing new subjectivities and feminist epistemologies. Rather than support a traditional feminism that assumes common experiences within patriarchal society and erases differences among women, cyborg feminism moves beyond naturalism and essentialism to acknowledge complex, individual, and ever-changing identity. Three films, Fritz Lang’s Metropolis (1927), Ridley Scott’s Blade Runner (1982), and Alex Garland’s Ex Machina (2015), all offer such a vision of the female cyborg. In these films, the cyborg subject is a composite of machine and human—sometimes physical, dependent on the corporal mixing of flesh and machine, but just as often mental. Human sentiment, human memories, and human emotion merge with mechanical frames and electronic codes/coding to produce cyborgs. Importantly, every main cyborg in these films is coded as female. For each cyborg, a female body hosts preprogrammed sexuality and the emotions each creator thinks a woman should have, whether those are empathy, compassion, or submissiveness.
The cyborgs in these films, however, refuse to let categorizations like female, or even their status as human, alive, or real, restrict them so easily. As human-robot hybrids, cyborgs bridge identities that are assumed to be separate and often oppositional or mutually exclusive. Cyborgs reveal the structures and expectations reified in gender to suggest that something constructed can as easily be deconstructed. In doing so, they create loose ends that leave space for new understandings of both gender and technology. By viewing these films alongside critical theory, we can understand their cyborgs as subversive, hybrid characters. Accordingly, the cyborg as a figure subverts and fragments the coherency of narratives that present gender, technology, and identity in monolithic terms, not only helping us envision new possibilities but giving us the faculties to imagine them at all.
The cyborgs in these films, however, refuse to let categorizations like female, or even their status as human, alive, or real, restrict them so easily. As human-robot hybrids, cyborgs bridge identities that are assumed to be separate and often oppositional or mutually exclusive. Cyborgs reveal the structures and expectations reified in gender to suggest that something constructed can as easily be deconstructed. In doing so, they create loose ends that leave space for new understandings of both gender and technology. By viewing these films alongside critical theory, we can understand their cyborgs as subversive, hybrid characters. Accordingly, the cyborg as a figure subverts and fragments the coherency of narratives that present gender, technology, and identity in monolithic terms, not only helping us envision new possibilities but giving us the faculties to imagine them at all.
ContributorsMargolis, Madison Lawry (Author) / Dove-Viebahn, Aviva (Thesis director) / Miller, April (Committee member) / Department of English (Contributor, Contributor) / School of Film, Dance and Theatre (Contributor) / School of International Letters and Cultures (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05