In order to explore this assemblage, this project is organized around four foundational questions: How is mental illness produced, surveilled, and differentially regulated as a social formation within medicine and policy? How does media reproduce and renegotiate these medical and political mental health discourses? How do these mental health discourses intersect with gender, race, and sexuality? How does our assemblage of cultural, medical, and political discourse produce, observe, and regulate intersectional mentally ill subjects in relationship to shifting ideals of normative subjecthood?
This project answers these questions over the course of several case studies, each of which explores a set of thematically linked texts as a window into understanding how mental illness operates intersectionally and biopolitically in cultural discourses and social institutions. The first section establishes a broad theoretical framework for articulating how discourses of gender and sexuality are central to the production of mental illness in the United States today. The second section explores how this intersection of gender, sexuality, and mental illness is observed and regulated through social institutions like the workplace, the nation-state, and the carceral system. The final section explores emergent discourses of mental illness that move us away from centering individual mentally healthy subjects as idealized entities and toward understanding mental and emotional well-being as a collective social enterprise.
I will argue that Fletcher as a queer female musician is less focused on physical beauty, but instead is more focused on inner beauty and the character of women instead. I will begin with defining beauty in its many forms and how this industry and market has grown in recent years through a review of the current literature in the applicable fields of study. The other side of this endeavor will be a review of selected song lyrics and an analysis of how they describe feminine beauty. This will demonstrate that queer women view and describe women differently- and in a more positive and humanizing manner.
A study and fanzine of fandom culture, as it pertains to Korean pop (also known as K-pop music), focusing primarily on fan interactions between idols (celebrities) and fans via online messaging platforms (such as Universe and Bubble) and how it shapes parasocial relationships, which lead to positives of connection and communication intimacy and negatives of safety and monetary concerns.
A study and fanzine of fandom culture, as it pertains to Korean pop (also known as K-pop music), focusing primarily on fan interactions between idols (celebrities) and fans via online messaging platforms (such as Universe and Bubble) and how it shapes parasocial relationships, which lead to positives of connection and communication intimacy and negatives of safety and monetary concerns.
With over a century of culturally established associations for different musical sounds, the narrative properties of film scoring powerfully influence how societies and cultures perceive themselves through film. Film scoring in mainstream culture functions as a form of social practice in which consumers dictate the market that producers create for, while the ideas and philosophies portrayed in film shape consumer audiences’ perceptions of what their societies look like. A surge of discourse in the 21st century surrounds issues of representation and inclusivity in mainstream media, including what constitutes appropriation versus appreciation in film scores using non-Western music traditions. Recent postcolonial ethnomusicological theory demonstrates that collaboration and co-authorship are inclusive ways that can both avoid the pitfalls of colonialist power structures and also create autonomy for participating marginalized groups. My research examines four contemporary films of the 21st century--Kung Fu Panda 3, Moana, Black Panther, and The Breadwinner--and the collaborations between film composers and source musicians that establish cultural and racial musical narratives. I analyze various musical techniques these composers learned through the collaboration process with contributing source musicians and the resulting musical space each film’s soundtrack created for the representative demographic. This discourse opens other avenues of exploration into how mainstream media and the “global imagination” informs cultural music identities. I conclude my research with examples of film scores appearing outside cinema in social musicality; these examples demonstrate the impact that inclusivity in film scoring has on many areas of mainstream culture, especially in racial representation discourse.