Matching Items (884)
ContributorsBritten, Benjamin, 1913-1976 (Composer)
Description
Scholars argue that masculinity and war are united because masculinity is best observed through male-dominated arenas, such as the military. Moreover, film can serve as a medium to not only establish what is socially acceptable, but play an active role in the creation of one’s identity. Filmmakers past and present have employed the motif of masculinity in their war films, which put it at the center of the social structure and creates an overall acceptable cultural ideology. These filmmakers have established the overall rules, themes, and methods used as part of the war film genre. These rules, themes, and methods served well for pre-1970 American war cinema, when women were not allowed in the military as soldiers. However, as of 2003, female soldiers have grown to comprise twenty percent of the active soldiers and officers in the military. Studies on masculinity construction are well documented in World War II, Vietnam, and Gulf War-era combat films; however, little has been studied on post-9/11 American war films involving the Iraq and Afghanistan wars. Using literature on masculinity constructs, both inside and outside of film, as well as social construction theory, identity theory, genre theory, and auteur theory, this dissertation textually examines masculinity construction in six post-9/11 American war films. This dissertation finds that the contemporary war genre continues to construct masculinity similar to past eras of war film. Comradery, the warrior image, not showing emotion, having a violent demeanor, and the demonization of women and cowardice were all prevalent in one or more of the films analyzed in this study. However, there were many nontraditional masculine ideals that were implemented, such as women being present and taking an active role as soldiers, as well as women being portrayed in the warrior image. The films analyzed demonstrate that the war film genre is still depicting and therefore socially constructing masculinity in a way that was prevalent in pre-1970 war films. However, the genre is evolving and nontraditional masculinity constructs are starting to present themselves.
ContributorsBowen, James (Author) / Russell, Dennis (Thesis advisor) / Thornton, Leslie-Jean (Committee member) / Craft, John (Committee member) / Giron, Angela (Committee member) / Arizona State University (Publisher)
Created2019
Description
The Arab Spring revolutions of 2010-11 raised important questions about how social-movement actors use new communication technologies, such as social media, for communication and organizing during episodes of contentious politics. This dissertation examines how organizers of and participants in Tunisia’s Arab Spring revolution used communication technologies such as Facebook, blogs, news websites, email, television, radio, newspapers, telephones, and interpersonal communication. The dissertation approaches the topic through the communication paradigm of framing, which the author uses to tie together theories of social movements, neo-patrimonialism, and revolution. The author traveled to Tunisia and conducted 44 interviews with organizers and participants about their uses of communication media, the frames they constructed and deployed, their framing strategies, their organizing activities, and their experiences of the revolution. The most common frames were those of the regime’s corruption, economic issues, and the security forces’ brutality. Interviewees deployed a hybrid network of media to disseminate these frames; Facebook represented a single node in the network, though many interviewees used it more than any other node. To explain the framing process and the resonance of the frames deployed by revolutionaries, the dissertation creates the concept of the alternative narrative, which describes how revolutionaries used a hybrid network to successfully construct an alternative to the narrative constructed by the regime. The dissertation also creates the concept of authoritarian weakening, to explain how citizens can potentially weaken neo-patrimonial regimes under conditions concerning corruption, poverty, and the introduction of civil society and of new communication technologies.
ContributorsBluhm, Michael (Author) / Russell, Dennis (Thesis advisor) / Ruggill, Judd (Thesis advisor) / Russomanno, Joseph (Committee member) / Silcock, William (Committee member) / Arizona State University (Publisher)
Created2018
Description
My name is Adriana Becerra and I am a student at the Walter Cronkite School of Journalism and Mass Communication at Arizona State University. In hoping to combine my two passions of journalism and film, for my Honors Undergraduate Thesis project I created my own film review website. My website is a complete review of the films that were nominated for the 2015 Oscars in the following categories: Best Picture, Animated Feature, Documentary Feature, Foreign Language, and Short Film Live Action. In all, I watched and reviewed a total of twenty-eight films based on acting, lighting, music, cinematography, costume/makeup/set design, writing, and visual effects. Over the course of nine months, I have watched, reviewed, and talked extensively about each film that I have reviewed. Though tedious at times, I thoroughly enjoyed completing my Undergraduate Thesis Project. I hope to continue critically looking at films, and possibly even incorporating film in my journalistic career.
ContributorsBecerra, Adriana Justina (Author) / Dodge, Nancie (Thesis director) / Russell, Dennis (Committee member) / School of Politics and Global Studies (Contributor) / Walter Cronkite School of Journalism and Mass Communication (Contributor) / Department of English (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
A well-regulated Militia, being necessary to the security of a free State, the right of the people to keep and bear Arms, shall not be infringed. There are few words that have proved as controversial and dividing as these in the Second Amendment of the United States Constitution. Especially today, it seems like every few months we are faced with a new, darker reality of mass shootings and unintended deaths. And everyone has their opinion on the matter. The primary goal of this paper and documentary, A Middle Ground, is to get to the root of the issue: what was the original intent of the Second Amendment and how has that intent changed from 1789 to today? Is there common ground for both sides of the issue? The paper describes the pre-production, production and post-production process of A Middle Ground documentary including problems, solutions and triumphs. The paper also discusses the history of the Second Amendment from its inception to its current day status in the Supreme Court. A Middle Ground follows the Supreme Court case Printz v. United States through the eyes of one of its main plaintiffs, former Graham County Sheriff Richard Mack. The documentary follows Sheriff Mack from his original choice to sue the Federal Government over the Brady Bill to the Supreme Court’s decision. It also touches on the history of the Second Amendment and how Printz v. United States impacted recent historic court cases on the Second Amendment. The case also jumpstarted the individual right movement that is the most prevalent interpretation of the Second Amendment today.
ContributorsWastek, Jakob Alexander (Author) / Craft, John (Thesis director) / Russell, Dennis (Committee member) / Walter Cronkite School of Journalism & Mass Comm (Contributor) / School of International Letters and Cultures (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
Journalism, by its very nature, is limited, often adhering to a repetitive format and narration style. Consequently, the depth of journalistic stories will always hit a barrier. Fiction, on the other hand, provides an elegant solution by exploring the world through a myriad point of views including complete omniscience. This thesis explores the link between journalism and fiction by taking real-world scenarios and exploring them without journalism's limitations. It includes three novellas totaling 25,000 words drawn from true-to-life research papers, news stories and manifestos to paint a realistic picture of a technological reality in the near future, a style of writing one might call futurecasting. The thesis also contains an analysis of the techniques used in contemporary fiction and an analysis of their implementation within the novellas. The goal of the novellas is to let researchers to explore the impact of their work before its mass dissemination in order to shape societal, national and international policy responsibly. Similarly, novellas like this and others similar allow society to discover the beauty of science through fiction. These are some of fiction's greatest roles in science and society.
ContributorsPacini, Jason Daniel (Author) / Zachary, Gregg (Thesis director) / Russell, Dennis (Committee member) / Giarrusso, Theresa Walsh (Committee member) / Barrett, The Honors College (Contributor) / Department of Physics (Contributor) / Walter Cronkite School of Journalism and Mass Communication (Contributor)
Created2013-05
Description
21st Century Breakdown: The Influence of Social Media on New Bands in the 21st Century is a creative project that explores the development of social media in its relation to music and how, over time, it has impacted the music industry. More specifically, the documentary explains the significance of social media to new bands at this moment in time (2017), which is seen through the development of local Phoenix band The Breaking Pattern. The documentary follows The Breaking Pattern for a year from the release of their debut album to the early stages of their second album. The documentary reveals that social media is essential to new bands, allows smaller bands to stay competitive in the industry and allows artists to present a certain identity, genuine or cultivated, to the public. Keywords: social media, identity, music, internet, documentary
ContributorsBosselman, Haley Erin (Author) / Jacoby, Jim (Thesis director) / Russell, Dennis (Committee member) / Walter Cronkite School of Journalism and Mass Communication (Contributor) / Department of English (Contributor) / Barrett, The Honors College (Contributor)
Created2017-05
Description
Asha Kirana: Working with Angels is a documentary about the HIV/AIDS epidemic in Southern India and how one hospital has taken the lead in giving their patients, especially children, a better quality of life. The documentary film uses the story of one hospital and the doctors working there to illustrate a larger problem with the treatment of people living with HIV/AIDS in India. The goal of this film is to start a conversation about how India can help to destigmatize HIV/AIDS. The film uses a positive message of education, hope and passion to show how doctors and patients in India have already begun to reverse the stigma surrounding HIV in their community and how they hope to expand their efforts in the future. This project includes a written methodology explaining the goals for the film which include: showing how infected women and children in India are perceived, how important counseling is for a person with a terminal illness and how important education is in de-stigmatization of HIV/AIDS. The methodology also explains the current situation of the HIV/AIDS epidemic in India, the inspiration behind the film and the ways in which this film can create social change in India. The entire process of creating this documentary is also explained in a first-person narrative from the filmmaker. This gives insight into the filming process, immersion into another culture, how sources were cultivated, how interviews were conducted, restrictions and obstacles during the filming process, how those issues were overcome and the filmmaker's personal reflections.
ContributorsMarquez, Carolina Elisse (Author) / Craft, John (Thesis director) / Russell, Dennis (Committee member) / Walter Cronkite School of Journalism and Mass Communication (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
ABSTRACT
This dissertation examined how seven federal agencies utilized Twitter during a major natural disaster, Hurricane Sandy. Data collected included tweets between October 26-31, 2012 via TweetTracker, as well as federal social media policy doctrines and elite interviews, to discern patterns in the guidance provided to federal public information officers (PIOs). While scholarly research cites successful local and state government efforts utilizing social media to improve response efforts in a two-way communications interaction, no substantive research addresses social media’s role in crisis response capabilities at the federal level.
This study contributes to the literature in three ways: it focuses solely on the use of social media by federal agencies in a crisis setting; it illuminates policy directives that often hamper federal crisis communication response efforts; and it suggests a proposed model that channels the flow of social media content for PIOs. This is especially important to the safety of the nation moving forward, since crises have increased. Additionally, Twitter was adopted only recently as an official communications tool in 2013. Prior to 2013, social media was applied informally and inconsistently.
The findings of this study reveal a reliance upon a one-way, passive communication approach in social media federal policy directives, as well as vague guidelines in existing crisis communications models. Both dimensions are counter to risk management and crisis communication research, which embrace two-way interactivity with audiences and specific messaging that bolsters community engagement, which are vital to the role of the PIO. The resulting model enables the PIO to provide relevant information to key internal agencies and external audiences in response to a future crisis.
This dissertation examined how seven federal agencies utilized Twitter during a major natural disaster, Hurricane Sandy. Data collected included tweets between October 26-31, 2012 via TweetTracker, as well as federal social media policy doctrines and elite interviews, to discern patterns in the guidance provided to federal public information officers (PIOs). While scholarly research cites successful local and state government efforts utilizing social media to improve response efforts in a two-way communications interaction, no substantive research addresses social media’s role in crisis response capabilities at the federal level.
This study contributes to the literature in three ways: it focuses solely on the use of social media by federal agencies in a crisis setting; it illuminates policy directives that often hamper federal crisis communication response efforts; and it suggests a proposed model that channels the flow of social media content for PIOs. This is especially important to the safety of the nation moving forward, since crises have increased. Additionally, Twitter was adopted only recently as an official communications tool in 2013. Prior to 2013, social media was applied informally and inconsistently.
The findings of this study reveal a reliance upon a one-way, passive communication approach in social media federal policy directives, as well as vague guidelines in existing crisis communications models. Both dimensions are counter to risk management and crisis communication research, which embrace two-way interactivity with audiences and specific messaging that bolsters community engagement, which are vital to the role of the PIO. The resulting model enables the PIO to provide relevant information to key internal agencies and external audiences in response to a future crisis.
ContributorsSmith, Ceeon D. Quiett (Author) / Matera, Fran (Thesis advisor) / Godfrey, Donald (Committee member) / Russell, Dennis (Committee member) / Nadesan, Majia (Committee member) / Arizona State University (Publisher)
Created2017
Description
The mass media genre known as true crime is dismissed often as a more sensational, less reliable iteration of traditional crime journalism. Consumer and editorial confusion exists because there is no overarching criteria determining what is, and what is not, true crime. To that extent, the complete history of true crime’s origins and its best practitioners and works cannot be known with any certainty, and its future forms cannot be anticipated. Scholarship is overdue on an effective criteria to determine when nonfiction murder narratives cease to be long-form crime reporting and become something else. Against the backdrop of this long-evolving, multi-faceted literary/documentary genre, the researcher in this exploratory, qualitative study seeks to (a) examine the historical tension between formal journalism and true crime; (b) reveal how traditional journalism both reviles and plunders true crime for its rhetorical treasures; and (c) explain how this has destabilized the meaning of the term “true crime” to the degree that a more substantive understanding needs to be established. Through a textual analysis of the forms and functions of representative artifacts, the researcher will suggest that a Theory of True Crime could be patterned after time-tested analytic codes created for fiction, but structured in a simple two-stage examination that would test for dominant characteristics of established true crime texts.
ContributorsPunnett, Ian, 1960- (Author) / Russell, Dennis (Thesis advisor) / Holtfreter, Kristy (Committee member) / Russomanno, Joseph (Committee member) / Silcock, William (Committee member) / Arizona State University (Publisher)
Created2017