Matching Items (13)
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- All Subjects: Television
- Creators: Department of English
- Creators: School of Film, Dance and Theatre
- Resource Type: Text
Description
South Korea possesses the only culture to successfully create a transnationality and hybridity formula that is not replicable. So why Korea and why now? The goal of this thesis creative project is to demonstrate the marketing and communications strategies used in the arts and culture industry to drive global awareness and interest in K-Pop. In order to achieve that goal, I created HellotoHallyu.com, a website designed for an audience of Millennials and Generation Z English speakers to increase their awareness of the growth and impact of the Korean Wave in a fun and engaging way. So those who may hear a song by K-Pop idol group BTS on a music awards show in the U.S. can get themselves up-to-speed before diving into the fast-paced world of K-culture gossip sites and forums. Hello to Hallyu delivers consumer-friendly, educational content easily understood by English speakers with no prior knowledge of Korean culture, while still piquing the interest of K-pop connoisseurs. It provides the background necessary for even the most dedicated fans to glean new knowledge of Korea's cultural industry and a new perspective on the content they consume. Hello to Hallyu is based on a combination of secondary and primary research conducted over four semesters beginning Spring 2017 and continuing through Spring 2018. This project is set up as an ever-expanding resource freely available to anyone with internet access. The research required to maintain the site will continue with the Wave. However, the content currently on the site is evergreen, a documentation of the history of the Wave as explained in peer-reviewed articles and by Dr. Ingyu Oh as well as a documentation of my personal experience with Hallyu while in Korea and as a Westerner living in the U.S. The site's goal is to demonstrate the marketing and communications strategies used in the industry to drive global awareness and interest. Through this means, Hello to Hallyu aims to provide fully developed multimedia content intended to increase English speakers' awareness of the growth and impact of the Korean Wave as shown through site visits, content views, and audience engagement.
ContributorsTravis, Lisa Anne (Author) / Hass, Mark (Thesis director) / Shewell, Justin (Committee member) / Walter Cronkite School of Journalism and Mass Communication (Contributor) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
Netflix has positioned itself at the forefront of the future of television with its original programming, which has been rolled out in greater and more frequent amounts just in the last couple of years. The streaming service has already experimented with creativity in ways most other shows and creators haven't, playing with the pacing of overall seasons as well as the length of episodes. So, too, Netflix has been at the forefront of increasing visibility for minority characters on television. Many of its shows incorporate racially diverse casts and depict lots of LGBTQ characters, a refreshingly realistic view of the world that many of its viewers have always lived in but haven't yet witnessed on television. Visibility and representation are critical concepts for analyzing minority characters on television. It is important for diverse characters to be seen, first and foremost, but also to be seen in positive or at least realistic lights. Care must be taken to avoid fulfilling stereotypes or tropes, and attention must be paid to what has happened to other characters who have come before. However, many of Netflix's portrayals of these characters, particularly bisexual characters, leave much to be desired. With the original dramas House of Cards, Hemlock Grove, Orange is the New Black, and Sense8, all of which include characters who identify as or behave bisexually, Netflix has been reluctant to use the specific word bisexual to describe characters, and many don't even identify their sexuality with a synonym for the term. Many of the bisexual characters that I identified died or were killed on the shows, and nearly all of them fulfilled stereotypes or tropes in some way. There were multiple scenes of threesomes or other distinctly kinky sexual encounters, which served to exoticize bisexuality and distance it from the more normatively viewed identities of heterosexuality and homosexuality. Ultimately, while Netflix's original programming has offered increased visibility to bisexual characters, it has yet to reflect the real community it seeks to portray. In particular, Netflix's refusal to label characters as bisexual is frustrating and limiting. It can be argued that this is a progressive move toward more ideas of sexual fluidity and a post-modern lack of sexual labels, but there are not enough depictions of identified bisexual characters on television yet for this to make sense. Until bisexual characters and their identities are not invisibilized or stigmatized, more work has to be done to ensure that bisexual people are represented fairly and accurately on television and in all media.
ContributorsKoerth, Kimberly Marie (Author) / Himberg, Julia (Thesis director) / Sturges, Robert (Committee member) / Department of English (Contributor) / College of Public Service and Community Solutions (Contributor) / Walter Cronkite School of Journalism and Mass Communication (Contributor) / School of Social Transformation (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
This work examines three common practices—yellowface in Cloud Atlas (2012), whitewashing in Star Trek Into Darkness (2013), and absence in Firefly (2002)—employed in popular science fiction that represent Asianness and disregard the Asian body. Though the creators purport to have progressive ideals at the center of their production choices, their works call on Techno-Orientalist and Orientalist tropes and divorce them from the Asian body, implicitly continuing the Orientalist argument of Western supremacy even in representing Asianness.
ContributorsTse, Kassidy Laurane (Author) / Miller, April (Thesis director) / Rondilla, Joanne (Committee member) / Department of English (Contributor) / School of International Letters and Cultures (Contributor) / Barrett, The Honors College (Contributor)
Created2017-05
Description
The television industry has experienced major changes in the past decade that have affected our behaviors, expectations, and perceptions of the world. New services offer different methods of consuming media and shift the way the industry defines television. The following research reflects on past trends in television history and the current landscape in order to understand how television will continue to evolve, adapt, or return to old practices as it reacts to audiences' needs. From the growth of binge-watching to the proliferation of connected devices and digital technologies, the television industry faces many new challenges and opportunities. Consumers have shifted from the post-network era of cable's dominance to the leading online, digital services that enhance consumers' desires to have television anywhere and everywhere. Although these changes threaten the industry's current advertising models, they also present new ways for networks to connect with quality audiences, and thereby, shape our identities and consumer culture. This study analyzes the influence of these changes and considers how the current state of the television industry may continue to change in the future.
ContributorsDorsey, Caitlin Renee (Author) / Himberg, Julia (Thesis director) / Haggins, Bambi (Committee member) / Department of English (Contributor) / W. P. Carey School of Business (Contributor) / Department of Marketing (Contributor) / Department of Information Systems (Contributor) / Barrett, The Honors College (Contributor)
Created2016-12
Description
This paper analyzes the television show Star Trek: Deep Space Nine within the context of the other Trek series, especially the original series and Star Trek: The Next Generation, with a particular focus on multiculturalism. Previous Trek series present an image of the United Federation of Planets that has evolved into a peaceful, cooperative, post-scarcity, multicultural utopia, but gloss over the difficulties the Federation governments must have faced in creating this utopia and must still face in maintaining it. I argue that DS9’s shift in focus away from exploration and towards a postcolonial, multicultural, stationary setting allows the show to interrogate the nature of the Federation’s multicultural utopia and showcase the difficulties in living in and managing a space with a plurality of cultures. The series, much more than those that precede and follow it, both directly and indirectly criticizes the Federation and its policies, suggesting that its utopian identity is based more in assimilation than multiculturalism. Nonetheless, this criticism, which is frequently abandoned and even undermined, is inconsistent. By focusing on three of the show’s contested spaces/settings—the space station itself, the wormhole, and the demilitarized zone—I analyze the ways in which DS9’s ambivalent criticism of the success of multiculturalism challenges the confidence of the Trek tradition.
ContributorsPoterack, Vivien Eulalie (Author) / Free, Melissa (Thesis director) / Sandlin, Jennifer (Committee member) / Department of English (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
A guide to implementing empathy in crisis communications
ContributorsLong, Mary Louise (Author) / Schmidtke, Lisa (Thesis director) / Bovio, Sonia (Committee member) / Department of Marketing (Contributor) / Walter Cronkite School of Journalism and Mass Comm (Contributor, Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
ContributorsFlores, Czarina (Author) / Bradley, Christoper (Thesis director) / Dove-Viebahn, Aviva (Committee member) / Barrett, The Honors College (Contributor) / Department of English (Contributor)
Created2024-05
ContributorsFlores, Czarina (Author) / Bradley, Christoper (Thesis director) / Dove-Viebahn, Aviva (Committee member) / Barrett, The Honors College (Contributor) / Department of English (Contributor)
Created2024-05
ContributorsFlores, Czarina (Author) / Bradley, Christoper (Thesis director) / Dove-Viebahn, Aviva (Committee member) / Barrett, The Honors College (Contributor) / Department of English (Contributor)
Created2024-05
Description
When you think of actors, you probably think of the glitz and glam of Hollywood. It is a career many desire to have because of this initial perception. Who does not want to live the lavish life of an actor? Who does not want to get paid to basically play dress up? The truth is acting is much more, and less, than that. In fact, there are almost no two actors with the same exact journey to where they are. The career itself is very subjective, which is quite the scary thought to many including myself. Since I was a kid, acting is all I wanted to do. However, I have also always been someone who enjoys stability and consistent next steps, which is why I have been terrified at the idea of pursuing acting for so long. It is not a career that guarantees success. It is not even a career that has one definition of success. What is not shown behind the flashing lights and the glamour is what it truly takes to “make it”. Like I said, there are different variations of “making it” as well. Because of this idea that a career in acting is not all one thing, I wanted to find the commonalities. Are there things anyone who wants to be an actor, whether it is theater, film, television, or commercial acting, can do to increase their chances for success? What are the steps necessary to be taken seriously in this industry? In this thesis, I am going to explore the intricacies of this career to try to answer these questions.
ContributorsBrook, Loza H (Author) / Collis, Adam (Thesis director) / Espinosa, Micha (Committee member) / School of Film, Dance and Theatre (Contributor) / Walter Cronkite School of Journalism & Mass Comm (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05