Matching Items (30)
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
The purpose of this essay is to explain how celebrities manage their brand, as an image and commodity, using social media. Merriam-Webster defines "celebrity" as the "state of being celebrated." This essay will continue to explain how this state of celebration is a manufactured idea by the individual and the media's portrayal. Celebrities are "well-known for their well-knowness" (Boorstin, 1961, p. 58). Boorstin (1961) explains celebrities achieve fame not for their achievements, but by creating a unique personality (as cited in Turner, 2004). Crowd culture, networks, and audience knowledge are tools celebrities must use to navigate digital nuances. They must manage performance of self, adhere to internet social norms, and the obsessive fame culture. Celebrities are often referred to have "star power" and have a certain "charisma." This cultural identity is "negotiated and formed" contrived by a team through promotion, publicity, and advertising (Turner, 2004). Celebrities market themselves through branded content, media used to promote a product, on their social media pages while targeting crowd cultures. Networks truly define how celebrities must brand themselves on social media. This person-to-person contact establishes fan and consumer connections that build the celebrity's base and following. Despite campaigning in a digital world, it goes back to people connecting with people, not accounts linking to accounts. Celebrities manufacture all of these strategies and tactics as they market themselves as a commodity to target crowd culture audiences. This is why targeting crowd cultures is vitally important for celebrities. This essay explores the techniques of select celebrities as they succeed and fail navigating digital nuances.
ContributorsPierce, Ellen (Author) / Jacoby, Jim (Thesis director) / Himberg, Julia (Committee member) / Department of English (Contributor) / Walter Cronkite School of Journalism and Mass Communication (Contributor) / Barrett, The Honors College (Contributor)
Created2017-12
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
For my thesis project, I created a website, titled Noise + Heat, to serve as a guide to local music in the Phoenix area. The idea is that someone who is unfamiliar with Phoenix music can visit my site and easily be able to find the latest news, new music releases, live music venues, and be able to familiarize themselves with local artists. I designed and built the site in Adobe Edge Animate, and created all content. The website can be found at this link: www.noiseplusheat.com
ContributorsDinell, Sarah Constance (Author) / Jacoby, Jim (Thesis director) / Dodge, Nancie (Committee member) / Barrett, The Honors College (Contributor) / Walter Cronkite School of Journalism and Mass Communication (Contributor)
Created2014-12
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
A core tenet of production can be summarized that if you are doing your job right, no one will notice. But this can come back to count against production in that when things go right, then people think that it is easy to do and therefore to replace. And as production is something unseen by the camera, it can often be lost or overlooked in favor of those seen and presented by the camera. This project was motivated from my own interest in media production and my experience at the Walter Cronkite School of Journalism and Mass Communication in classes and available opportunities. And due to my own interests in production, an objective of this thesis and process was to find how my own school compared to other big journalism schools and if my interests had a possibility of turning into a viable career. This thesis focuses on broadcast media production in primarily three areas: news, sports, and entertainment. 10 different media production professionals were interviewed to get first-hand knowledge of production in these chosen media areas and journalism schools. My thesis breaks into three main topics that cover a range of aspects of production. The first topic focuses on the effects of developing technology and funding concerns. The second topic is on how production is taught or not in journalism schools. And the third topic looks at job possibilities for production. Through interviews with professionals, personal histories and job statistics, this thesis aims to show that production should be taught in journalism schools, as it is still a viable career path with possibilities beyond just the typical news newscast.
ContributorsDickens, Hannah Marie (Author) / Jacoby, Jim (Thesis director) / Delaney, Ebonye (Committee member) / School of Film, Dance and Theatre (Contributor) / Walter Cronkite School of Journalism and Mass Communication (Contributor) / Barrett, The Honors College (Contributor)
Created2017-12
Description
The Walter Cronkite School of Journalism and Mass Communications stands as a "gold standard" of journalism education throughout the country. In my time at the school though, I found that some aspects in the whole of the curriculum were missing. I as well as several other friends became interested in production and the technical side of things. This seemed to be the direction we wanted to go and soon realized this played a crucial part in journalism. Although there is a studio production class and a studio production track through the immersive Cronkite News program, there is not much in between. This inspired me to take a look deeper into production skills and their place within a journalism education. The project is split into three main sections that dive into the ideas of teaching production skills and technical skills to journalism students and whether or not it is valuable. The first part is the background of the project and why this project came to be. The background section explores the inspiration for the project. The project continues with a look at job statistics and where the industry currently sits. This continues into the final section that contains personal stories and interviews with professionals in the field. This is a critical section to back up claims made through research and evaluation. There is a lot of personal experience and non-traditional research done through this project, but the assertions and conclusions made are clear. Through job statistics, personal stories, and interviews with professionals, this project examines how production could be taught in a traditional journalism program. These stories show that a journalism curriculum may not be the best place to teach production in depth, but that it still is an incredibly important part of the journalism world as a whole.
ContributorsHardy, Joseph Michael (Author) / Jacoby, Jim (Thesis director) / McJannet, Rob (Committee member) / College of Public Service and Community Solutions (Contributor) / Walter Cronkite School of Journalism and Mass Communication (Contributor) / Barrett, The Honors College (Contributor)
Created2016-12