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A podcast that discusses the phenomenon of cult cinema deemed “so bad, it's good”. It takes a look at what makes these films enduring and entertaining, with the ability to create near-religious followings. Moreover, it discusses the financial aspect of the filmmaking and how these followings affect the market.

ContributorsFischler, Max Caskey (Co-author) / Stone, Zac (Co-author) / Schmidt, Peter (Thesis director) / Mack, Robert (Committee member) / School of Accountancy (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
Description

A podcast that discusses the phenomenon of cult cinema deemed “so bad, it's good”. It takes a look at what makes these films enduring and entertaining, with the ability to create near-religious followings. Moreover, it discusses the financial aspect of the filmmaking and how the cult followings affect the market.

ContributorsStone, Zac Allen (Co-author) / Max, Fischler (Co-author) / Schmidt, Peter (Thesis director) / Mack, Robert (Committee member) / The Sidney Poitier New American Film School (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
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Description

Health and Wealthness is a podcast where your hosts, Emily Weigel and Hanaa Khan discuss pressing and trending topics about health and wealth that everyone should know about. Our first four episodes focus on the opioid crisis. Both the science and healthcare sides. We then go on to talk about

Health and Wealthness is a podcast where your hosts, Emily Weigel and Hanaa Khan discuss pressing and trending topics about health and wealth that everyone should know about. Our first four episodes focus on the opioid crisis. Both the science and healthcare sides. We then go on to talk about burnout and mental health in a conversational episode.

ContributorsKhan, Hanaa S (Co-author) / Weigel, Emily (Co-author) / Olive, Foster (Thesis director) / Bonfiglio, Thomas (Committee member) / Department of Psychology (Contributor) / School of Life Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
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Description
Horror films are typically comprised of three specific features: jump scares, gore, and suspense shots of a shadowy figure creeping up on an unaware victim. These three elements are some of the hallmarks of what defines the horror genre as they are methods that have proven successful in eliciting a

Horror films are typically comprised of three specific features: jump scares, gore, and suspense shots of a shadowy figure creeping up on an unaware victim. These three elements are some of the hallmarks of what defines the horror genre as they are methods that have proven successful in eliciting a bodily response within audience members, which is crucial to a horror movie being considered successful. However, these elements are also very polarizing. Individuals that enjoy horror often like these three things, while those who don’t appreciate the genre often cite over the top gore, distain for jump scares, and the anxiety that accompanies those suspenseful shots as primary reasons for avoiding horror. Due to the fact that those spectators who like horror tend to be in the minority, horror tends to have a very weak crossover appeal, thus limiting the audience interest while also being very unpopular among critics as well.
Interestingly, three recent horror films have achieved both critical acclaim and popularity among all audiences, horror and non-horror fans alike. Get Out, A Quiet Place, and It Follows are all noticeably lacking in the three features that commonly make a horror film “successful”, and yet it would be difficult to argue that they aren't successful horror films given that they have received critical acclaim, impressive box office returns, and have a strong crossover appeal. Therefore, they must use alternative methods to achieve the bodily response of fear that is necessary to be successful in the genre. I argue that these films put the audience member in a position that mirrors what Forced Lacanian Hysteric Neurosis and that this positioning produces the bodily response that is necessary for a horror movie to be successful. This manifestation has the additional benefit of allowing those spectators who do not like the fundamental aspects of horror (jump scares, gore, and suspenseful shots) to find the pleasure of horror without experiencing on-screen events that might cause them notable distress.
ContributorsStevens, Summer Charis (Author) / Mack, Robert (Thesis director) / Miller, April (Committee member) / Department of Psychology (Contributor) / Department of Economics (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
Whether fights to the death, or a masked murderer chasing an unwilling teen, viewers are seemingly drawn to human suffering. This thesis will examine the blurring of lines between traditional horror and crime films to better understand how both films provide a similar experience, as well as apply traditional film

Whether fights to the death, or a masked murderer chasing an unwilling teen, viewers are seemingly drawn to human suffering. This thesis will examine the blurring of lines between traditional horror and crime films to better understand how both films provide a similar experience, as well as apply traditional film theories on pleasurable viewership to both genres, in an attempt to discover viewers’ attraction to the perverse.
ContributorsBenavidez, Markus A (Author) / Miller, April (Thesis director) / Mack, Robert (Committee member) / School of Criminology and Criminal Justice (Contributor) / School of Politics and Global Studies (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
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Description

An analysis of the relationship between haunted house films and economic anxieties of different cultures and time periods.

ContributorsRobertson, Travis (Author) / Miller, April (Thesis director) / Mack, Robert (Committee member) / Barrett, The Honors College (Contributor) / Walter Cronkite School of Journalism and Mass Comm (Contributor) / The Sidney Poitier New American Film School (Contributor)
Created2022-05
Description

This story ---Under Still Faces--- is a horror fiction story. It is influenced primarily by classic, gothic literature with themes from the horror and true crime genres. The story includes critical/theoretical concepts, literary devices, and techniques from gothic literature primarily including Freud’s Uncanny, uneven framing, and an unreliable narrator. It

This story ---Under Still Faces--- is a horror fiction story. It is influenced primarily by classic, gothic literature with themes from the horror and true crime genres. The story includes critical/theoretical concepts, literary devices, and techniques from gothic literature primarily including Freud’s Uncanny, uneven framing, and an unreliable narrator. It employs themes from Edgar Allan Poe’s novels as well as his thesis regarding plot in The Philosophy of Composition. Particular descriptive themes in conjunction with the use of gothic elements surprise the reader about the story’s true ending similar to Poe’s The Oval Portrait. Included is an analysis of the literary decisions made in the piece to evoke specific reactions and feelings from the reader.

ContributorsRaines, Elliana (Author) / Fette, Don (Thesis director) / Mack, Robert (Committee member) / Barrett, The Honors College (Contributor) / School of International Letters and Cultures (Contributor) / Department of Economics (Contributor) / Department of Finance (Contributor)
Created2022-05
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ContributorsRaines, Elliana (Author, Co-author) / Fette, Don (Thesis director) / Mack, Robert (Committee member) / Barrett, The Honors College (Contributor) / School of International Letters and Cultures (Contributor)
Created2022-05
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ContributorsRaines, Elliana (Author, Co-author) / Fette, Don (Thesis director) / Mack, Robert (Committee member) / Barrett, The Honors College (Contributor) / School of International Letters and Cultures (Contributor)
Created2022-05