An entire decade of films that emerged from the Hollywood system during the blockbuster era of the 1980s is often summed up as one marked by a “curious and disturbing phenomenon of children’s films conceived and marketed largely for adults — films that construct the adult spectator as a child, or, more precisely, as a childish adult, an adult who would like to be a child.” If it is possible, as film theorist Siegfried Kracauer proposed, that “in recording the visible world — whether current reality or an imaginary universe — films … provide clues to hidden mental processes,” what are we to deduce about the mental processes of the American public who would pay to sit in a movie theater and watch Raiders of the Lost Ark (1981) or Rambo: First Blood (1982) for multiple viewings? In addressing this questions it may be helpful to turn again to Krakauer, who reminds us that a box office “hit may cater only to one of many co-existing [mass] demands, and not even a very specific one,” and that even if one could draw conclusions about the “peculiar mentality of a nation” by analyzing the “pictorial and narrative motifs” of box office hits, this “by no means implies a fixed national character.” This is a key insight because it implies a diverse national character composed of mass demands that remain unmet by the “children’s films” produced for adults which remain emblematic of Hollywood during the 1980s. In this thesis, I argue that the mainstream Hollywood film Beverly Hills Cop contradicts this notion because it employs sophisticated strategies to work as resistance against the dominant American cultural ideologies of the mid-1980s. I briefly contextualize the film in its historical and cultural setting. Then, I analyze three narrative aspects of the film. First, I begin with the various interactions Eddie Murphy’s character Axel Foley has with several “gatekeepers” throughout the film. Next, I analyze a scene in which Foley is assaulted by Sgt. Taggart of the Beverly Hills Police Department. Finally, I analyze Foley’s relationships with the supporting characters Mikey and Jenny. Beverly Hills Cop is one of the most popular and successful American films of the 1980s. Its subversiveness suggests the possibility that a host of other popular films from the decade are similarly sophisticated. This points to the need for a reexamination of a decade of American cinema that has been cast as “children’s films conceived and marketed largely for adults.”

In my thesis, I examine the character of Henry VI in Shakespeare's Henry VI cycle (1, 2, and 3 Henry VI) - who has been critically thought of as a feminine figure - in light of the Herculean Hero model and against other male characters in the Henry VI plays. By comparing Henry to the Herculean model, there are points of similarity regarding character inaction - a feminine attribute - allowing Henry to become a more masculine figure than he has otherwise been criticized as.

A play about a ghost and a vampire who are roommates who are secretly in love with each other and have never told one another. One day, the ghosts remains are discovered, and the two must race to get them back - with the help of some friends - before a proper burial means that they'll never see each other again.

This thesis is an exploration of my imaginary world through a short narrative with a focus on placemaking in fiction. The narrative follows Dengar, a civil servant estranged from the central government, as he investigates disappearances occurring in the edges of the empire, uncovering secrets related to the empire’s past and the past of the conquered people of Thron. He must navigate a bitter, cold landscape and a dangerous resistance group as he learns more about the real reason behind why he was sent there. Schemes are uncovered and foiled as he makes his way into the core base of the resistance, a towering mountain called Diran. Following the narrative, I explain my inspirations and analyze my narrative from the perspective of placemaking, referring to placemaking scholars such as Basso and Whitridge.

The following paper builds upon version one of The Women’s Power and Influence Index (WPI). The WPI Index is a product created by The Difference Engine, a center at ASU, to address gender inequality in the workplace. The WPI Index ranks Fortune 500 companies on various criteria and releases the information to the public in an easy-to-understand manner. Following the first release in 2021, we aim to help the WPI Index continue to grow by researching social movements that can inspire the Index, suggesting additional criteria for version 1.5, and raising awareness through events and social media. Part I of the paper details how social movements have utilized social pressure and social media to create broad change, setting the stage for the WPI Index’s public rankings to incentivize change. Part II provides research on new criteria we propose to be added to the Index for the next release. Lastly, part III covers how we used TikTok, events, and partnerships to help the Index gain notoriety. Altogether the paper suggests new directions and provides scientific research to further the goals of the WPI Index.