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Descent: A Modern Television Adaptation of Dante's Inferno

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Descent is a modern television adaptation of Dante's Inferno, in which the main characters must navigate the levels of the Dark Web instead of Hell. This Creative Project includes the script for the first episode of this series, as well

Descent is a modern television adaptation of Dante's Inferno, in which the main characters must navigate the levels of the Dark Web instead of Hell. This Creative Project includes the script for the first episode of this series, as well as episode summaries for each of the 10 episodes in the first season.

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2020-12

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Commodifying Asian Aesthetics and Eliminating Asian Bodies: Misrepresentations of Asianness in Science Fiction Film and Television

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

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.

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2017-05

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"Nobody leaves paradise": Testing the Limits of a Multicultural Utopia in Deep Space Nine

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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

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.

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2016-05

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Bi the Way: An Analysis of Visibility and Representation of Bisexual Characters in Netflix Original Dramas

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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

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.

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2016-05

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The Market For Bodies: Investigating the Landscape of Nontransplant Anatomical Donation Organizations

Description

While there is extensive information available about organizations that receive donated organs for transplant, much less is known about those that accept tissue and whole bodies for medical education and research. Throughout the United States, nontransplant anatomical donation organizations exist

While there is extensive information available about organizations that receive donated organs for transplant, much less is known about those that accept tissue and whole bodies for medical education and research. Throughout the United States, nontransplant anatomical donation organizations exist within an ambiguous sector of the donation industry, unencumbered by federal regulations. Although these companies adhere to the Uniform Anatomical Gift Act, the lack of a single entity responsible for overseeing their operations has led to public skepticism and animosity among competing businesses. Legislation has the potential to legitimize the industry. For it to be successful, however, the intricacies of a complex market that deals directly with the movement of human remains and intangible issues of human integrity and morality, must be thoroughly understood.

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2015-05

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Ex Queer Scientia | From the Queer, Knowledge: The Evolution of Queer Expressions of Gender & Sexuality in the Star Trek Universe

Description

This thesis is a series of essays on the evolution of queer expressions of gender & sexuality in the Star Trek Universe. This project spans the entire history of the franchise but focuses primarily on the Star Trek series Deep Space Nine, Voyager, and Discovery.

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2020-12

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Audience Viewing Behaviors' Effects on Consumer Culture and the Future of the Media Industry

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

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.

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2016-12