Matching Items (28)
Filtering by
- All Subjects: Spanish
- All Subjects: Film
- Creators: School of International Letters and Cultures
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
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 Escucha Project: Documenting Hispanics of Phoenix started with one purpose: to speak less and listen more. Often times, I find myself focused on what I can contribute to a conversation rather than listening to what others have to say; this project was the first step in changing that. As a student pursuing a Spanish language minor in the School of International Letters and Cultures, I decided to combine three things I am passionate about: the Spanish language, storytelling, and people. Similar to the Humans of New York blog by Brandon Stanton, which features portraits and interviews collected on the streets of New York City, I photographed and highlighted the stories of Hispanics in Phoenix. Each interview started with a brief description of the project, followed by a series of questions, and finally, a photograph. Through a blog and social media, I documented the photographs and quotes of those who I spoke with. The simple concept and project procedure led to complex and thoughtful realizations, not only from myself, but also from those who followed along. I was surprised at how similar and thematic the responses were throughout the process. The most common themes throughout the interviews were family, education, opportunity, and fear. By speaking with individuals within the Hispanic population of Phoenix and learning more about them, I feel that the overall purpose was achieved. Regardless of the content of their interview, each one of them allowed a non-native Spanish speaker into some part of their life and that is something I am grateful to have facilitated.
ContributorsAvades, Meriam Jalal (Author) / Foster, David (Thesis director) / Cardoso, Jaime (Committee member) / School of International Letters and Cultures (Contributor) / School of Life Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2017-05
Description
Currently the Chinese marketplace is very much influenced by its economic, demographic, political, technological, and sociocultural trends. The Chinese population is aging, and the gender ratio is being tipped to favor the male population. Also, the urbanization of rural parts of China has lead to a rising middle class with higher inclinations to spend their income. Along with these changes, China has fully embraced technological innovation, from mobile payments to sharing economies, to allowing social media access to almost all functions of daily life. The Chinese film market used to consist of mainly government-produced domestic films, but since the the first insurgence of foreign imports, China’s desire for Hollywood films has sparked and grown immensely.
However, while the general public has a high demand for foreign films, the key player in exporting a film and distributing it into China is the Chinese government and related censorship bodies. Since China is a widely untapped marketplace for foreign filmmakers, it makes sense to enter, and there are three ways a film can do so: a flat-fee export, the revenue sharing, and the co-production model. The flat-fee export model entails a straight export into China, including only a flat price, no sales revenue. The revenue-sharing model is the desired choice for big-budget studios since they get a percentage of the ticket sales in China, but there are only a select few spots that are filled each year. The co-production model is when an American film studio partners with a Chinese production company and they create a film together. This model allows the film be considered domestic, but comes with many stipulations regarding Chinese presence and influence in the film.
For an independent film company looking to expand in the most lucrative international market, the best way to effectively create, market, and distribute a movie in China is to first craft a broad, unique, and attainable mission statement. Once the goals of the company are created, then key factors for success are choosing the best method of entry into the marketplace while adeptly taking the government influence into consideration, hiring locals who have previous experience in the Chinese film industry and have a deep understanding of Chinese history, culture, and the current social trends, and taking advantage of all the avenues that are available to market and distribute the film. Overall, the best options for a small independent film company in America would be to create an animated feature with two versions, or a live-action film featuring prominent Chinese actors. These are the most feasible under the flat-fee model for those with a limited financial budget, or a co-production approach for those interested in a more long-term investment plan with China.
Overall, there are many moving parts and aspects to consider when entering the Chinese movie marketplace, and this research and suggestions are geared towards making sure that if going to China is possibility, then this information provides the best tools and resources to ensure that venture is a success.
However, while the general public has a high demand for foreign films, the key player in exporting a film and distributing it into China is the Chinese government and related censorship bodies. Since China is a widely untapped marketplace for foreign filmmakers, it makes sense to enter, and there are three ways a film can do so: a flat-fee export, the revenue sharing, and the co-production model. The flat-fee export model entails a straight export into China, including only a flat price, no sales revenue. The revenue-sharing model is the desired choice for big-budget studios since they get a percentage of the ticket sales in China, but there are only a select few spots that are filled each year. The co-production model is when an American film studio partners with a Chinese production company and they create a film together. This model allows the film be considered domestic, but comes with many stipulations regarding Chinese presence and influence in the film.
For an independent film company looking to expand in the most lucrative international market, the best way to effectively create, market, and distribute a movie in China is to first craft a broad, unique, and attainable mission statement. Once the goals of the company are created, then key factors for success are choosing the best method of entry into the marketplace while adeptly taking the government influence into consideration, hiring locals who have previous experience in the Chinese film industry and have a deep understanding of Chinese history, culture, and the current social trends, and taking advantage of all the avenues that are available to market and distribute the film. Overall, the best options for a small independent film company in America would be to create an animated feature with two versions, or a live-action film featuring prominent Chinese actors. These are the most feasible under the flat-fee model for those with a limited financial budget, or a co-production approach for those interested in a more long-term investment plan with China.
Overall, there are many moving parts and aspects to consider when entering the Chinese movie marketplace, and this research and suggestions are geared towards making sure that if going to China is possibility, then this information provides the best tools and resources to ensure that venture is a success.
ContributorsCrozier, Julianna (Author) / Eaton, Kate (Thesis director) / Schlater, John (Committee member) / School of International Letters and Cultures (Contributor) / School of Art (Contributor) / Department of Marketing (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
A situation of language contact on the Uruguayan-Brazilian border has created a unique opportunity to study variant usage with respect to the phoneme /b/. Following past research models, the thesis analyzes the social and linguistic effects of contact bilingualism on the border variety of Spanish using acoustic phonetics. The intervocalic /b/ was the target variant in the study. Analysis was performed on the speech tokens of 20 speakers living on the Uruguayan-Brazilian border using the phonetics software Praat, and from the tokens the consonant-vowel intensity ratio of each intervocalic /b/ was determined in order to characterize the variant. The tokens were classified as one of four possible variants, [b], [v], [β], or phonetic zero. The thesis found that cognate status, normative Spanish orthography, and professional status were the significant predictors of variant usage.
ContributorsEngelhardt, Julie Karyn (Author) / Gradoville, Michael (Thesis director) / Cerron-Palomino, Alvaro (Committee member) / Waltermire, Mark (Committee member) / School of International Letters and Cultures (Contributor) / Barrett, The Honors College (Contributor)
Created2017-12
Description
The purpose of this honors thesis project is to educate and excite French students on the subject of French films, as well as any person who might be interested in immersing himself/herself in the world of French cinema. This project aims to provide an introduction to French culture through film, and thereby inspire a love of Francophone culture and movies. To accomplish this goal, this honors project will first introduce the differences between French and American films and explain how those differences are based on the underlying culture of the two regions. These differences, in addition to the language barrier, can cause cultural misunderstandings. As a result, these misunderstandings often prevent many Americans from ever experiencing French cinema. The varying history, pacing, writing styles, and gender roles of French and American films can be analyzed to discover each culture's norms and values. Though films often come from a place of imagination, they can also give clues about the life of the society that creates and watches them. After first exploring the history and evolution of cinema in France and America, the project will also analyze the major cinematic differences between the two. Finally, the project contains advice for the reader on film-watching strategies to maximize his/her understanding and enjoyment. Films can serve as a unique and educational lens where viewers can observe cultures in an entertaining environment. When watching foreign films, viewers can hope to gain more insight into the people and the norms of different cultures, and hopefully they will become excited to learn more.
ContributorsSelman, Kaitlyn Michelle (Author) / Poteet, Lesley (Thesis director) / Bahtchevanova, Marianna (Committee member) / School of International Letters and Cultures (Contributor) / WPC Graduate Programs (Contributor) / School of Accountancy (Contributor) / Barrett, The Honors College (Contributor)
Created2017-12
Description
This thesis project investigated the linguistic competence of four brothers in an attempt to evaluate the effects that assimilation in the United States has on language loss within second generation speakers. The project employed the use of a case study and autoethnography in order to take a closer look at the concepts of assimilation, acculturation, and language loss, as well to provide a real world example of their interrelatedness. The second generation, or the heritage speakers in the family, were the focus of the study in order to provide a closer look at how the heritage language was retained within said generation. The project found that although there has historically been a push to assimilate immigrants into the American society, my brothers and I are not being assimilated as much as we are being acculturated. The project also found that although we grew up speaking Spanish at home, education in the language was essential in developing fluency in the subcategories of reading and writing, which are often neglected in the household.
ContributorsDreher, Brian Francis (Author) / Ovando, Carlos (Thesis director) / Martin, Thomas (Committee member) / School of Molecular Sciences (Contributor) / School of International Letters and Cultures (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
The 5E model of instruction is most commonly used in STEM; however, this thesis explores the idea of integrating the 5E model into second-language teaching of Spanish. Furthermore, this project incorporates technology into the 5E system to create engaging lessons. The overarching question of this paper is “How can technology and the 5E model be combined to create effective 5th-grade Spanish lesson plans?” This thesis includes four complete Spanish 5E lesson plans designed for a 5th-grade class.
ContributorsPatel, Roshi (Author) / Walton-Ramirez, Anne (Thesis director) / Hjelmstad, Kara (Committee member) / Division of Teacher Preparation (Contributor) / School of International Letters and Cultures (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
Description
Language has a critical role as a social determinant of health and a source of healthcare disparities. Rhetorical devices are ubiquitous in medicine and are often used to persuade or inform care team members. Rhetorical devices help a healthcare team acknowledge and interpret narratives. For example, metaphors are frequently used as rhetorical devices by patients to describe cancer, including winning or losing a battle, surviving a fight, war, potentially implying that the patient feels helpless like a pawn fighting in a struggle directed by the physician, thus reducing patient autonomy and agency. However, this occidental approach is flawed because it excessively focuses on the individual's agency and marginalizes external factors, such as cultural beliefs and social support (Sontag, 1989). Although there is a large body of research about how the rhetoric of medicine affects patients in the United States, there is a lack of such research about how patient experiences' rhetoric can help increase the understanding of Latino populations' unique social determinants. This creative project aims to analyze the rhetorical differences in the description of disease amongst Latino and American communities, translating to creating an educational module for a Spanish for biomedical sciences class. The objective is to increase future healthcare professionals' ability to understand how the composition of descriptions and medical rhetoric in different mediums of humanities can serve as critical tools to analyze social determinants in Latino healthcare delivery.
ContributorsKottapalli, Sai Bhuvana (Author) / Estevez, Dulce (Thesis director) / Oberstein, Bruce (Committee member) / School of Molecular Sciences (Contributor) / School of International Letters and Cultures (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
Description
For the Love of the Game is a 15-minute documentary highlighting what the culture of soccer is like in Spain. Filmed completely in Valencia, Spain, this short film shows the actual atmosphere of everyday soccer. People of all ages and backgrounds give depth into what it's like to grow up in Spain with and fall in love with the game.
ContributorsRaboin, Sarandon Grace (Author) / Jacoby, Jim (Thesis director) / Kassing, Jeffrey (Committee member) / School of International Letters and Cultures (Contributor) / Walter Cronkite School of Journalism and Mass Comm (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05