Matching Items (13)
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- All Subjects: Film
- Creators: School of International Letters and Cultures
- Member of: Barrett, The Honors College Thesis/Creative Project Collection
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
There exists a prejudicial influence in the way that psychological thrillers depict their mentally-ill subjects. Accordingly, this creative project closely examines scenes from the following four seminal films: Psycho, Taxi Driver, American Psycho, and Joker -- each of which exemplifies four psychosocial themes that have a dominant presence within the ‘psycho-thriller’ sub-genre. These include themes of toxic masculinity, urban corruption, social class, and latent trauma. Each of these are then discussed in terms of their presence and meaning within the genre -- particularly the method in which they reinforce prejudicial understandings of severe mental illness (SMI) despite reflecting the dominant beliefs of medico-scientific communities, criminological theorists, and psychoanalytic schools of thought of the eras in which they were released. Given that these theories continue to inform the public’s understanding of severe mental illness (SMI), this thesis seeks to expose how the enduring presence of these psychosocial themes within the ‘psycho-thriller’ subgenre has conflated the presence of mental illness with criminal disposition. After discussing the representation of these themes in each film, this paper highlights how psychological thrillers may function as instruments of advocacy for mental health in spite of their ‘horrific’ elements, and provides examples of how other entertainment media have helped normalize neurodivergence in a neurotypical society.
ContributorsHernandez, Martin (Author) / Miller, April (Thesis director) / Cavanaugh Toft, Carolyn (Committee member) / Department of Management and Entrepreneurship (Contributor) / School of International Letters and Cultures (Contributor) / Barrett, The Honors College (Contributor)
Created2021-12
Description
This research paper explores the dynamic interplay between early Soviet film and
the French New Wave movement, with a specific focus on the cinematic contributions of Sergei Eisenstein. By delving into the personal diaries and memoirs of this iconic director and drawing from a rich array of essays, articles, and interviews found in the pages of Cahiers du Cinéma and Revue du Cinéma, this study seeks to unravel the intricate web of influences and ideological connections that link the two cinematic movements. Sergei Eisenstein, a pioneering figure in Soviet film, is examined in the context of his most prominent cinematic works, including "Battleship Potemkin" and "October." By scrutinizing Eisenstein's theories on montage and the dialectical synthesis of images, this paper uncovers the profound impact of his ideas on the aesthetics and narrative strategies employed by the directors of the French New Wave. In conclusion, this research contributes to a more comprehensive understanding of the cross-cultural dialogues within the world of cinema, emphasizing the enduring legacy of Eisenstein's theories by uncovering the often-overlooked connections between early Soviet film and the French New Wave, this study enriches our appreciation of the interconnected aspects of cinematic movements and the enduring impact Eisenstein’s vision combined with his charismatic personality.
ContributorsBenchoff, Charlotte (Author) / Hoogenboom, Hilde (Thesis director) / Gilfillan, Daniel (Committee member) / Barrett, The Honors College (Contributor) / Department of English (Contributor) / School of International Letters and Cultures (Contributor)
Created2024-05