Cinema Studieshttp://hdl.handle.net/10211.3/1416322024-03-28T17:31:12Z2024-03-28T17:31:12ZPogchamp! an analysis of Twitch.tv and user intercommunicationsWerder, Briannahttp://hdl.handle.net/10211.3/2141422020-01-22T23:35:48Z2019-01-01T00:00:00ZPogchamp! an analysis of Twitch.tv and user intercommunications
Werder, Brianna
Twitch.tv is a social media platform which originally marketed itself specifically for gamers but has more recently gained recognition as appealing to aspiring live streamers of all interests. Social media platforms have the tendency to strive to individualize their users and make them stand out from others. Twitch is different than other social media sites like Facebook and Twitter because its emphasis is on building communities and bringing together people who share common interests. Twitch’s success is recent years has had a great influence on video games and media culture, and it continues to be a leader in community-based streaming services. This thesis will look at the innovations in online technologies and language that have come as a result of Twitch as well as the significance of the culture and communities that have formed on the platform.
2019-01-01T00:00:00ZThe limits of resemblance : gender representation in the films of Hong Sang-SooMudle, Kirk Roberthttp://hdl.handle.net/10211.3/2141172020-01-22T23:35:54Z2019-01-01T00:00:00ZThe limits of resemblance : gender representation in the films of Hong Sang-Soo
Mudle, Kirk Robert
This paper looks to Hong Sang-soo’s 2010 film, Oki’s Movie, to analyze how a middleaged
male filmmaker attempts to express the subjective experience of a woman who is
three decades his junior. This semi-episodic film tells four stories from the alternate
perspectives of Korean men and women of different generations. Instead of simply
reversing dominant gender roles, the film’s complex semi-episodic narrative encourages
the audience to engage with multiple contradictory male and female perspectives
simultaneously. The effects of these strategies are demonstrated through an analysis of
the interaction between gender and narrative structure within the film’s four overlapping
storylines. I argue that the way that Hong’s film confuses the separation between the
diegeses of each episode encourages the viewer to recognize the different webs of
systemic and interpersonal power that shape all gender identities. I also survey various
theories of voice-over (particularly those of Britta Sjogren and Kaja Silverman) to show
how point of view is sexually differentiated between each episode. Each character is then
examined as a surrogate for the director himself in order to show the vital role that selfreference
plays as a tool by which the author deconstructs their own privilege and
authority. Finally, my paper expands the film’s gender politics to a larger critique of
“phallocentric” theories of sexual difference and cultural studies. The film’s presentation
of multiple subjectivities is framed as a powerful opposition to overly essentializing
approaches to sexuality, identity and film theory. This approach toward Oki ’s Movie
shows how an author in a majority position may respectfully speak to the subjective
experience of a member of their social minority
2019-01-01T00:00:00ZSeason of the witch : the externalization of feminine powersFranco, Hector Manuelhttp://hdl.handle.net/10211.3/2140882020-01-22T23:35:50Z2019-01-01T00:00:00ZSeason of the witch : the externalization of feminine powers
Franco, Hector Manuel
Witches have always been portrayed as strong, powerful women who take control and are
able to use their Dowers to receive what they want. Traditionally, scholarship dealing
with the image of the witch have proposed this is possible due to the witch’s claim to her
femininity. This thesis argues that in mainstream representation the witch’s power is also
attached to her whiteness. This combination of whiteness and feminin’+y allows the witch
to continue perpetuating white supremacy and institutional power dynamics associated
with oppressing People of Color, Women of Color, and other subjugated identities.
Analyzing the Netflix series, Chilling Adventures o f Sabrina, my thesis explores how the
main character preserves the “white savior” trope, uses her whiteness to abuse her
powers, and ignores the significance of other racial, ethnic and cultural communi es.
2019-01-01T00:00:00ZExploring the phenomenology of black queer embodiment in Moonlight and TangerineReiff-Shanks, Mychalhttp://hdl.handle.net/10211.3/2139742020-01-22T23:35:42Z2019-01-01T00:00:00ZExploring the phenomenology of black queer embodiment in Moonlight and Tangerine
Reiff-Shanks, Mychal
In my thesis, I will be discussing how the filmic body through the theoretical understanding of phenomenology is a coded body. By coded I mean racially, sexually, and more. When viewing films, the focus has always been on the spectator’s identity to the film. But I will argue that die film itself has an identity that is seen within the film itself through camera angles, coloring, language, and content First I will be looking at the historical context of phenomenology both in terms of its origin in philosophy and its use in feminist film theory to explain what I mean when I say the film has a body. Then I will use two filmic examples both representing aspects of the Black queer experience, Tangerine and Moonlight.
2019-01-01T00:00:00Z