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At the beginning of the 20th century, the introduction of the motion picture as a medium changed the way people disseminate information between each other and to the masses. The magnitude of this change was supplemented and amplified first by, the addition of sound, then color, and finally (possibly most

At the beginning of the 20th century, the introduction of the motion picture as a medium changed the way people disseminate information between each other and to the masses. The magnitude of this change was supplemented and amplified first by, the addition of sound, then color, and finally (possibly most importantly) the invention of the technology to send and receive motion picture signals along with their corresponding sound tracks. This would eventually all be combined in the production of the first television sets. Some of the most stunning illustrations of the power brought about by this medium can be observed in the way that Germany was able to utilize film during (and before) World War II. The idea of using cinema as a propaganda tool led to the creation of UFA during WWI (1914-1918). Propaganda Minister Joseph Goebbels' fascination with film and its propaganda potential led to the development of many successful public communication techniques and numerous tactics used to influence the people's thoughts and actions. This thesis provides background information pertaining to the outbreak of World War II including the German propaganda machine, and examines the role that motion pictures played in the distribution of anti-Polish messages before and during the early stages of the war. It focuses specifically on the film Feuertaufe as an example illustrating six major tenants of Nazi film propaganda namely: oversimplification, appeal to emotions, harnessing the power of the visual image, intentional blurring of lines between entertainment and facts, repetition, and the use of graphics combined with music. Next, this essay explores how each of the abovementioned characteristics were used by the Poles and the British in their pro-Polish film This is Poland in order to sway public opinion and spread messages aligned with their political views respectively. This thesis concludes by stressing the importance of being aware of these techniques so that one may be able to separate fact from hype, and by looking at the possible utilization of the six tenants in the years to come as smart mobile-devices usher in yet another metamorphosis of the art of information distribution.
ContributorsBanaszczyk, Piotr M (Author) / Horwath, Peter (Thesis advisor) / Gruzinska, Aleksandra (Committee member) / Alexander, John (Committee member) / Arizona State University (Publisher)
Created2014
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The United States’ War on Drugs declared in 1971 by President Richard Nixon and revamped by President Reagan in the 1980s has been an objectively failed initiative with origins based in racism and oppression. After exploring the repercussions of this endeavor for societies and individuals around the world, global researchers

The United States’ War on Drugs declared in 1971 by President Richard Nixon and revamped by President Reagan in the 1980s has been an objectively failed initiative with origins based in racism and oppression. After exploring the repercussions of this endeavor for societies and individuals around the world, global researchers and policymakers have declared that the policies and institutions created to fight the battle have left devastation in their wake. Despite high economic and social costs, missed opportunities in public health and criminal justice sectors, and increasing limits on our personal freedoms, all the measures taken to eradicate drug abuse and trafficking have been unsuccessful. Not only that, but militarized police tactics, mass incarceration, and harsh penalties that stifle opportunities for rehabilitation, growth, and change disproportionately harm poor and minority communities. <br/>Because reform in U.S. drug policy is badly needed, the goals of America’s longest war need to be reevaluated, implications of the initiative reexamined, and alternative strategies reconsidered. Solutions must be propagated from a diverse spectrum of contributors and holistic understanding through scientific research, empirical evidence, innovation, public health, social wellbeing, and measurable outcomes. But before we can know where we should be headed, we need to appreciate how we got to where we are. This preliminary expository investigation will explore and outline the history of drug use and prohibition in the United States before the War on Drugs was officially declared. Through an examination of the different patterns of substance use, evolving civil tolerance of users, racially-charged anti-drug misinformation/propaganda campaigns, and increasingly restrictive drug control policies, a foundation for developing solutions and strengths-based strategies for drug reform will emerge.

ContributorsSherman, Brooke (Author) / Jimenez-Arista, Laura (Thesis director) / Mitchell, Ojmarrh (Committee member) / College of Integrative Sciences and Arts (Contributor) / Department of Psychology (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
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This dissertation presents a multifaceted examination of the complex sociopolitical contexts of contemporary popular and classical music in Russia. By attending to the competing expectations of Russian creators, government officials, impresarios, critics, and listeners, it examines how contemporary musical artists have navigated the shifting nationalistic and popular moods of the

This dissertation presents a multifaceted examination of the complex sociopolitical contexts of contemporary popular and classical music in Russia. By attending to the competing expectations of Russian creators, government officials, impresarios, critics, and listeners, it examines how contemporary musical artists have navigated the shifting nationalistic and popular moods of the past two decades.

I argue that popular music artists Olga Kormukhina and Polina Gagarina, composer Rodion Shchedrin, and the Mariinsky Theater have transformed the works of past artists, including Viktor Tsoi and Nikolai Leskov, updating them according to a popular demand for patriotic works that the Russian state has cultivated through its media outlets and official pronouncements on cultural policy. Other rock musicians (Konstantin Kinchev and the band Bi-2) have also transformed their political identities to match the present-day demands and expectations of either Russian officialdom or their particular Russian audiences. With the exception of Bi-2 (an ambiguous counterexample), all of these transformations have led to greater associations with nationalistic sentiments or fervent support for state agendas in the contemporary geopolitical arena.

Exploring the wide variety of styles and genres in this dissertation required a methodological versatility involving archival research, reception history, the analysis of musical scores and sound recordings, an examination of prose and poetic texts, and close study of visual imagery in music videos and onstage. The approach to reception history is the most groundbreaking, for it considers a wide range of digital sources, including blogs and social media comment threads, and makes use of language partner apps to augment the pool of informants, allowing conversation with Russians living outside the limited geographical range (St. Petersburg and Moscow) considered by previous studies. This holistic approach to contemporary reception history helps us to better understand how Russian audiences from diverse regions perceive these ongoing transformations.
ContributorsHillen, Shaun Patrick (Author) / Schmelz, Peter J. (Thesis advisor) / Manchester, Laurie (Committee member) / Saucier, Catherine (Committee member) / Solís, Ted (Committee member) / Arizona State University (Publisher)
Created2020