Matching Items (164)
Description
Horror as a genre is often dismissed on the basis of its reliance on jump scares and adrenaline highs, but history would suggest that society is just as well reflected in horror films as in any other genre. We only truly know our own experiences in real life, but film grants us the opportunity to see the world through another’s eyes, and what a more powerful way than through the experience of fear. In order to contextualize materials for the creation of a short horror film, the first part of this paper explores horror as a genre and the roles women tend to play in horror, both in the past and the present. It also considers how society perceives threats to women and how women perceive threats to themselves. It is important to define the foundation of women in horror and understand their current role in the genre to achieve the overarching goal of making a short horror film depicting a real issue that women face. A script, a storyboard, a timeline, and other materials for such a production are included as well.
ContributorsPeterschmidt, Bailey Willow (Author) / Mack, Robert L. (Thesis director) / Cheyne, Rebekah (Committee member) / School of Film, Dance and Theatre (Contributor) / Hugh Downs School of Human Communication (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
This project uses Kenneth Burke’s theory of dramatism and the pentad to analyze popular narrative films about human sex trafficking. It seeks to understand the relationship between a film’s dominant philosophy (as highlighted by utilizing Burke’s pentad), its inherently suggested solutions to trafficking, and the effect that the film has on viewers’ perception of trafficking. 20 narrative feature films about sex trafficking such as the 2008 film Taken were analyzed for this study. Three out of five of Burke’s philosophies were uncovered after analysis: idealism, mysticism, and materialism. Films that aligned with idealism were found to implicitly blame women for their own trafficking. Films that aligned with mysticism were found to rally audiences around violence and racism as opposed to women’s freedom. Films that aligned with materialism were found to be the most empathetic towards trafficked women. The conclusion of this paper is that films about sex trafficking have a high potential to be harmful to women who have exited trafficking. This paper asserts that the most valuable films about trafficking are those that are not simply based on a true story but are created by trafficking survivors themselves, such as the 2016 film Apartment 407.
ContributorsHamby, Hannah Mary (Co-author) / Raum, Brionna (Co-author) / Edson, Belle (Thesis director) / Zanin, Alaina (Committee member) / Dean, W.P. Carey School of Business (Contributor) / Hugh Downs School of Human Communication (Contributor) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
This project uses Kenneth Burke’s theory of dramatism and the pentad to analyze popular narrative films about human sex trafficking. It seeks to understand the relationship between a film’s dominant philosophy (as highlighted by utilizing Burke’s pentad), its inherently suggested solutions to trafficking, and the effect that the film has on viewers’ perception of trafficking. 20 narrative feature films about sex trafficking such as the 2008 film Taken were analyzed for this study. Three out of five of Burke’s philosophies were uncovered after analysis: idealism, mysticism, and materialism. Films that aligned with idealism were found to implicitly blame women for their own trafficking. Films that aligned with mysticism were found to rally audiences around violence and racism as opposed to women’s freedom. Films that aligned with materialism were found to be the most empathetic towards trafficked women. The conclusion of this paper is that films about sex trafficking have a high potential to be harmful to women who have exited trafficking. This paper asserts that the most valuable films about trafficking are those that are not simply based on a true story but are created by trafficking survivors themselves, such as the 2016 film Apartment 407.
ContributorsRaum, Brionna L (Co-author) / Hamby, Hannah (Co-author) / Edson, Belle (Thesis director) / Zanin, Alaina (Committee member) / School of Film, Dance and Theatre (Contributor) / Hugh Downs School of Human Communication (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
When you think of actors, you probably think of the glitz and glam of Hollywood. It is a career many desire to have because of this initial perception. Who does not want to live the lavish life of an actor? Who does not want to get paid to basically play dress up? The truth is acting is much more, and less, than that. In fact, there are almost no two actors with the same exact journey to where they are. The career itself is very subjective, which is quite the scary thought to many including myself. Since I was a kid, acting is all I wanted to do. However, I have also always been someone who enjoys stability and consistent next steps, which is why I have been terrified at the idea of pursuing acting for so long. It is not a career that guarantees success. It is not even a career that has one definition of success. What is not shown behind the flashing lights and the glamour is what it truly takes to “make it”. Like I said, there are different variations of “making it” as well. Because of this idea that a career in acting is not all one thing, I wanted to find the commonalities. Are there things anyone who wants to be an actor, whether it is theater, film, television, or commercial acting, can do to increase their chances for success? What are the steps necessary to be taken seriously in this industry? In this thesis, I am going to explore the intricacies of this career to try to answer these questions.
ContributorsBrook, Loza H (Author) / Collis, Adam (Thesis director) / Espinosa, Micha (Committee member) / School of Film, Dance and Theatre (Contributor) / Walter Cronkite School of Journalism & Mass Comm (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
Executive Summary: Luke Armistead and his crew are seeking investments in the form of cash or assets (i.e. shooting location, drivable car, film equipment, etc.) in order to make “Red Fox Does Not Move”, a short action-thriller. “Red Fox Does Not Move” tells the story of two government agents seeking revenge against Domino Mancini, a violent mob boss. This short film is meant to target U.S. adults, especially those who use YouTube. The action-thriller genre is popular in the U.S. among adults, and since an overwhelming majority of adults use YouTube, the video hosting website is a good place to distribute the film after the private showings. In order to build anticipation for the film, a vlog series detailing production of the short film will be produced in tandem with the film. “Red Fox Does Not Move” is planned to be distributed via film festival (e.g. Sundance, Cannes, AFA, etc.) as well as select local theaters holding local short film showings/mini festivals.
ContributorsArmistead, Luke M (Author) / Melby, Amanda (Thesis director) / Fortunado, Joseph (Committee member) / School of Film, Dance and Theatre (Contributor) / Department of Management and Entrepreneurship (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
Over the course of his four years of course, Matt Stockmal has told multiple historical stories for multiple different groups in multiple different mediums. As a Digital Culture major, these storytelling mediums were all infused with creative technology. As Matt comes to the close of his college career, he wanted to take the time to review his work, reflect on the merits of the medium used with regards to its ability to instill visceral impact, and write a series of tutorials using what was learned in the process of experimentation in historical storytelling.
The paper is meant to serve as a base of reference material for future, real world, project proposals to historical organizations. A mock proposal to the Fullersburg Historic Foundation, proposing the digital mediums and methods discussed, is included at the end of the paper.
In concluding thoughts, Matt I appears to have the depth and breadth of skills needed to make impactful media. And the mediums of media have been as diverse as the subjects they cover. But upon reviewing his own review, it took someone else smarter had to tell me that though there is diversity abound in his portfolio, there is a single baseline: Keeping history alive. Every one of these mediums can be used to infuse a sense of digital energy, simulated life, back into historical artifacts and documentation. The historical characters return to live when a medium brings back the motion, the energy, of the thing it is showing. If the medium infuses this life back into the story. The results are nothing short of magic.
The paper is meant to serve as a base of reference material for future, real world, project proposals to historical organizations. A mock proposal to the Fullersburg Historic Foundation, proposing the digital mediums and methods discussed, is included at the end of the paper.
In concluding thoughts, Matt I appears to have the depth and breadth of skills needed to make impactful media. And the mediums of media have been as diverse as the subjects they cover. But upon reviewing his own review, it took someone else smarter had to tell me that though there is diversity abound in his portfolio, there is a single baseline: Keeping history alive. Every one of these mediums can be used to infuse a sense of digital energy, simulated life, back into historical artifacts and documentation. The historical characters return to live when a medium brings back the motion, the energy, of the thing it is showing. If the medium infuses this life back into the story. The results are nothing short of magic.
ContributorsStockmal, Matthew Eric (Author) / Pinholster, Jacob (Thesis director) / Foushee, Danielle (Committee member) / Arts, Media and Engineering Sch T (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
Following the journey through the sewerage system, wastewater is subject to a series of purification procedures, prior to water reuse and disposal of the resultant sewage sludge. Biosolids, also known as treated sewage sludge, deemed fit for application on land, is a nutrient-rich, semisolid byproduct of biological wastewater treatment. Technological progression in metagenomics has allowed for large-scale analysis of complex viral communities in a number of samples, including wastewater. Members of the Microviridae family are non-enveloped, ssDNA bacteriophages, and are known to infect enterobacteria. Members of the Genomoviridae family similarly are non-enveloped, ssDNA viruses, but are presumed to infect fungi rather than eubacteria. As these two families of viruses are not relatively documented and their diversity poorly classified, this study aimed to analyze the presence of genomoviruses and the diversity of microviruses in nine samples representative of wastewater in Arizona and other regions of the United States. Using a metagenomic approach, the nucleic acids of genomoviruses and microviruses were isolated, assembled into complete genomes, and characterized through visual analysis: a heat chart showing percent coverage for genomoviruses and a circular phylogenetic tree showing diversity of microviruses. The heat map results for the genomoviruses showed a large presence of 99 novel sequences in all nine wastewater samples. Additionally, the 535 novel microviruses displayed great diversity in the cladogram, both in terms of sub-family and isolation source. Further research should be conducted in order to classify the taxonomy of microviruses and the diversity of genomoviruses. Finally, this study suggests future exploration of the viral host, prior to entering the wastewater system.
ContributorsSchreck, Joshua Reuben (Author) / Varsani, Arvind (Thesis director) / Rolf, Halden (Committee member) / Misra, Rajeev (Committee member) / School of Film, Dance and Theatre (Contributor) / School of Life Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
Our audio-visual installation explores human development through internal conflicts as theorized by psychologist Erik Erikson. Erikson’s theory breaks down development into eight stages, each one with a unique internal conflict as its cornerstone. These stages will be expressed in our installation through different animation styles and accompanying songs. Originally these were planned to be projected on all four walls of an enclosed room; however, due to the COVID-19 situation, the installation was moved to a VR video that can be experienced virtually instead. These different styles and songs will uniquely represent each of the stages essential to psychosocial development, while the dynamic use of space through the projection of varied visuals in all directions will immerse audience members in the diverse experience of dealing with internal conflict. This unique installation will invite audience members to understand the internal nature of conflicts, and the similar conflicts we will all experience as we mature, inspiring them to participate in self-reflection, looking within themselves rather than on external factors as they develop throughout their lifetimes.
ContributorsXu, Gina (Co-author) / Chan, Yvonna (Co-author) / Conner, Jennifer (Co-author) / Pinholster, Jacob (Thesis director) / Fette, Donald (Committee member) / Arts, Media and Engineering Sch T (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
Motion: Performing Arts and Creative Training, also known as MPACT, will provide dance training to all levels and ages in the St. Louis, Missouri area. Our highly trained and knowledgeable dance educators will provide instruction that will inspire and foster creativity in a highly educational class setting that will prepare each student for a lifelong love for dance. Students will have the opportunity to perform in multiple settings and engage in class instruction from guest artists as well as MPACT’s educators.
ContributorsHills, Mira Marie (Co-author) / Hills, Mira (Co-author) / Schupp, Karen (Thesis director) / Roses-Thema, Cynthia (Committee member) / Department of Management and Entrepreneurship (Contributor) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
Personal experiences with body image dysmorphia and an eating disorder necessitated that I do a thorough investigation into why they happened and why I felt this way about my body. For this project, not only was I motivated by my own struggles, but I noticed that these experiences were shared among my family, my friends, and my fellow peers in the dance community. We had been struggling since childhood. I began to realize that these behaviors and thought patterns were manifestations of apology, an apology that women have been learning, living, and spreading since our beginnings. Why do women apologize? How does this apology affect how we view, treat, and navigate our bodies in space? In what ways can dance be the mechanism by which we remove apology and individually and collectively find joy, freedom, and liberation? Not only was I interested in understanding the ‘why’, but I was deeply interested in finding a solution. Research for this thesis came from written materials, stories that the dancers and I shared, and choreographic research in the body. The final goal was to create a community-based performance of dance, spoken word, and storytelling that demonstrated the findings from each of those questions and catalyzed a conversation about how we can liberate ourselves. We used rehearsals to explore our own experiences within apology and shame, while also exploring how the ways in which we practice being unapologetic in the dance space can translate to how we move through the world on a daily basis.
Through a deep analysis and application of Sonya Renee Taylor’s book The Body Is Not An Apology, I discovered that apology is learned. We learn how to apologize through body shame, the media, family/generational trauma, and government/law/policy. This apology is embodied through gestures, movement patterns, and postures, such as bowing the head, hunching the shoulders, and walking around others. Apology causes us to view our bodies as things to be manipulated, discarded, and embarrassed by. After recognizing why we apologize and how it affects our bodies, we can then begin to think of how to remove it. Because the body the site of the problem, it is also the site of the solution. Dance gives us an opportunity to deeply learn our bodies, to cultivate their power, and to heal from their traumas. By being together in community as women, we are able to feel seen and supported as we work through uncharted territory of being free from apology in these bodies. By dancing in ways that allow us to take up space, to be free, to be unapologetic, we use dance as a practice for life. Through transforming ourselves, we begin to transform the world and rewrite the narrative of how we exist in and move through our bodies as women.
Through a deep analysis and application of Sonya Renee Taylor’s book The Body Is Not An Apology, I discovered that apology is learned. We learn how to apologize through body shame, the media, family/generational trauma, and government/law/policy. This apology is embodied through gestures, movement patterns, and postures, such as bowing the head, hunching the shoulders, and walking around others. Apology causes us to view our bodies as things to be manipulated, discarded, and embarrassed by. After recognizing why we apologize and how it affects our bodies, we can then begin to think of how to remove it. Because the body the site of the problem, it is also the site of the solution. Dance gives us an opportunity to deeply learn our bodies, to cultivate their power, and to heal from their traumas. By being together in community as women, we are able to feel seen and supported as we work through uncharted territory of being free from apology in these bodies. By dancing in ways that allow us to take up space, to be free, to be unapologetic, we use dance as a practice for life. Through transforming ourselves, we begin to transform the world and rewrite the narrative of how we exist in and move through our bodies as women.
ContributorsWaller, Marguerite Lilith (Author) / Fitzgerald, Mary (Thesis director) / Britt, Melissa (Committee member) / Lerman, Liz (Committee member) / Dean, Herberger Institute for Design and the Arts (Contributor) / School of Film, Dance and Theatre (Contributor, Contributor) / School of Social Transformation (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05