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Dissertations / Theses on the topic 'American Popular Culture'

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Published: 4 June 2021

Last updated: 26 January 2023

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1

Herrmann, Andrew F., and Art Herbig. "Communication Perspectives on Popular Culture." Digital Commons @ East Tennessee State University, 2016. https://www.amzn.com/1498523927.

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Popular culture helps construct, define, and impact our everyday realities and must be taken seriously because popular culture is, simply, popular. Communication Perspectives on Popular Culture brings together communication experts with diverse backgrounds, from interpersonal communication, business and organizational communication, mass communication, media studies, narrative, rhetoric, gender studies, autoethnography, popular culture studies, and journalism. The contributors tackle such topics as music, broadcast and Netflix television shows, movies, the Internet, video games, and more, as they connect popular culture to personal concerns as well as larger political and societal issues. The variety of approaches in these chapters are simultaneously situated in the present while building a foundation for the future, as contributors explore new and emerging ways to approach popular culture. From case studies to emerging theories, the contributors examine how popular culture, media, and communication influence our everyday lives.
https://dc.etsu.edu/etsu_books/1131/thumbnail.jpg

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2

Berglund, Jeffrey Duane. "Cannibal fictions in U.S. popular culture and literature /." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487935573771863.

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3

Kajikawa, Loren Yukio. "Centering the margins black music and American culture, 1980-2000 /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1930277371&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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4

Gomes, Isabel Cristina de Oliveira. "American popular culture and the lifestyle of Portuguese teenagers." Master's thesis, Universidade de Aveiro, 2009. http://hdl.handle.net/10773/2830.

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Mestrado em Línguas, Literaturas e Culturas
A globalização, proliferação dos média e a predominância da língua Inglesa no mundo permitem mergulhar numa viagem virtual e instantânea a diversas culturas, e com particular incidência na cultura Americana, o que necessariamente exporá os jovens a imagens e representações desta cultura. O presente estudo pretende olhar para este fenómeno através de um estudo aos jovens Portugueses. Tem como objectivos aferir as representações da cultura americana entre os jovens Portugueses e o modo como esta cultura é entendida pelos jovens, assim como o seu impacto no estilo de vida dos jovens. E as conclusões foram de que os jovens estão subjugados pelas novas tecnologias e escolhem maioritariamente entretenimento e informação em fontes com base na cultura Americana, que é conotada com o progresso e a modernidade. O estilo de vida dos jovens Portugueses sofre o impacto deste fenómeno quase hegemónico enraizando na sua identidade laivos de americanização. ABSTRACT: Globalization, the proliferation of the media and the predominance of the English language permit a virtual and instantaneous journey into real cultures, and particularly into the American culture, and this will necessarily expose teenagers to images and representations of that culture. This dissertation presents a study of Portuguese teenagers which is centred on these issues. The study aims to assess the representations of American popular culture among Portuguese teenagers as well as its impact on their lifestyle. And it concludes that, on the one hand teenagers are subjugated by media technology and on the other hand that they choose to be exposed to entertaining and information mainly of only one origin: American culture, which they understand to be connected to progress and modernity. The lifestyle of Portuguese teenagers suffers the impact of this almost hegemonic phenomenon with Americanization becoming part of their identity.

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5

Matz, Duane A. Simms L. Moody. "Images of Indians in American popular culture since 1865." Normal, Ill. Illinois State University, 1988. http://wwwlib.umi.com/cr/ilstu/fullcit?p8818716.

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Thesis (D.A.)--Illinois State University, 1988.
Title from title page screen, viewed September 9, 2005. Dissertation Committee: L. Moody Simms (chair), Edward L. Schapsmeier, W. Mark Wyman, Lawrence W. McBride, John R. McCarthy. Includes bibliographical references (leaves 373-390) and abstract. Also available in print.

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6

Rodway, Cara. "Roadside romance : the American motel in postwar popular culture." Thesis, King's College London (University of London), 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.602561.

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7

Brigham, Ann Elizabeth. "Popular attractions: Tourism, heterosexuality, and sites of American culture." Diss., The University of Arizona, 1999. http://hdl.handle.net/10150/284560.

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"Popular Attractions: Tourism, Heterosexuality, and Sites of American Culture" investigates the serious business of pleasure, analyzing the circuits of desire that link stories of tourism and heterosexuality. I assert that the core impulses of tourism persistently shape American identity. Though the technology changes, the story perseveres: subjects leave the familiar behind in order to find themselves elsewhere. Quite simply, they ground themselves through movement. Tracing protagonists' upward and outward movements, I argue that the preservation of the American myth of mobility requires multiple conquests--geographical, cultural, sexual, ethno-racial, and economic. Examining literary narratives and tourist trends from the nineteenth- and twentieth-centuries, I suggest how a changing rhetoric of productivity anchors and threatens the parameters of pleasure. As the erotics of sightseeing dovetail with those of heterosexual romance, a twinned desire for defamiliarization and domestication emerges. The subject simultaneously yearns for mobility and placement. I conclude that the narrative patterns of fiction, film, and popular tourist sites generate and capitalize on the queasiness produced by this dual desire. As feminist geographer Doreen Massey has noted, social relations "necessarily have a spatial form" (120). The narratives of geographical movement I discuss romance the possibility of new social intimacies with ambivalent results, as indicated by the repeated erasure, revision, and defense of multiple boundaries. In the introduction I analyze Lynne Tillman's novel Motion Sickness to challenge the assumption that the objectives of tourism and heterosexuality are to produce and maintain a self different from an other. Indeed, while sightseeing and heterosexual seduction both promise the pleasures of inhabiting an other's locale, they also expose the impossibility of defining differences between familiar and foreign. Considering these issues in works by Henry James, Sinclair Lewis, Stephen Spielberg, Jamaica Kincaid, Leslie Silko, and Lynne Tillman, and the tourist destinations represented in them, succeeding chapters analyze the reassuring and continuous constructions of binaries like home/away, distance/intimacy, and familiar/strange, illuminating their instability by revealing how they become blurred, contradictory, or representative of seemingly disparate concerns.

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8

Tiongson, Antonio T. "Filipino youth cultural politics and DJ culture." Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3199265.

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Thesis (Ph. D.)--University of California, San Diego, 2006.
Title from first page of PDF file (viewed February 28, 2006). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 206-220).

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9

Tomlin, T. J. Wigger John H. "Almanacs and American popular theology, 1730-1820." Diss., Columbia, Mo. : University of Missouri-Columbia, 2009. http://hdl.handle.net/10355/6763.

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The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on March 29, 2010). Thesis advisor: Professor John Wigger. Includes bibliographical references.

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10

Schlueter, Jennifer. "Our lively arts American culture as theatrical culture,1922-1931 /." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1194035587.

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de, los Reyes Vanessa. "I Love Ricky: How Desi Arnaz Challenged American Popular Culture." Oxford, Ohio : Miami University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1209136075.

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Wegner, Kyle David. "Children of Aztlán : Mexican American popular culture and the post-Chicano aesthetic /." Connect to online resource, 2006. http://proquest.umi.com/pqdweb?did=1147180781&sid=1&Fmt=2&clientId=39334&RQT=309&VName=PQD.

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Su, Genxing. "The seduction of culture: Representation and self-fashioning in Anglo-American popular culture." Diss., The University of Arizona, 2001. http://hdl.handle.net/10150/290379.

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One important means by which a society maintains and reproduces its dominant ideology is through cultural seductions. By creating in its viewers/readers a good feeling about themselves and the world they live in, popular culture entices individuals into approving of, supporting and embracing the dominant social, political and economic orders of our world. What Louis Althusser calls ideological "interpellation," therefore, is frequently a form of seduction involving the use of sweeteners that render certain values, beliefs and social positions enticing and attractive. Among such seducers are money, women (sexual pleasure), fear, an illusion of power and the semblance of dissent/rebelliousness, many of which are, or are generated by the representation of, the cultural and political "others" of the West. At the same time, the reproduction and maintenance of the dominant orders in the West, to which these "others" make no insignificant contributions, ultimately reinforce their subordinate and underprivileged statuses. Driving such illusion-based ideological seductions are capitalism and its colossal culture industry--a symbol of the postmodern convergence of the cultural, ideological and the economic--whose insatiable desire for profit casts the "others" of the West into the vicious circle of mis-representation and domination.

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McCain, James. "Hawking cultural icons representations of Stephen Hawking in American popular culture, 1974-2004 /." [Gainesville, Fla.] : University of Florida, 2005. http://purl.fcla.edu/fcla/etd/UFE0010583.

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15

Nicholls, Matthew. "Interactions between contemporary American independent cinema and popular music culture." Thesis, University of Southampton, 2011. https://eprints.soton.ac.uk/367385/.

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In recent years, many American independent films have become increasingly engaged with popular music culture and have used various forms of pop music in their soundtracks to various effects. Disparate films from a variety of genres use different forms of popular music in different ways, however these negotiations with pop music and its cultural surroundings have one true implication: that the 'independentness' (or 'indieness') of these movies is informed, anchored and embellished by their relationships with their soundtracks and/or the representations of or positioning within wider popular music subcultures. Independent American cinema, often distinguished from mainstream Hollywood cinema in terms of the separateness of its production or distribution, or its thematic and/or formal transgressions, can also be seen as distinctive in terms of its musical expression. This thesis will investigate the impact that these popular music cultures have had on contemporary American independent film since the 1980s. The primary objective of this thesis is not to discuss how these films are positioned within the industry (this has been done elsewhere), nor is it the aim to scrutinise a film's independentness (or 'unindependentness') in terms of its production, but rather to assert how music functions in these films and how a notion of independence (indieness) can be measured from the relationship between the film, its soundtrack, and a wider music culture. This will involve textual analyses of how popular music has been used to score a selection of key independent films (ranging from Blue Velvet and Do the Right Thing through to Ghost World and Juno), how popular music trends and subcultures have been represented on screen (such as dance music culture in Go), and how the film and music worlds have interacted, particularly through collaborations between directors and pop musicians (such as Darren Aronofsky and Clint Mansell).

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Gervin, Kelly J. "Music and Environmentalism in Twenty-First Century American Popular Culture." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1494162797534902.

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McGee, Adam Michael. "Imagined Voodoo: Terror, Sex, and Racism in American Popular Culture." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11350.

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I analyze the historical and cultural processes by which American racism is reproduced, approaching the issue through the lens of "imagined voodoo" (as distinct from Haitian Vodou). I posit that the American Marine occupation of Haiti (1915-34) was crucial in shaping the American racial imaginary. In film, television, and literature, imagined voodoo continues to serve as an outlet for white racist anxieties. Because it is usually found in low-brow entertainment (like horror) and rarely mentions race explicitly, voodoo is able to evade critique, disseminating racism within a culture that is now largely--albeit superficially--intolerant of overt racism.
African and African American Studies

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18

Kruse, Daniel R. "Tucson's Zoom Records and Late-1950s American Urban Popular Culture." Thesis, The University of Arizona, 2012. http://hdl.handle.net/10150/268475.

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The marketing and distribution of pre-recorded music for sale and public consumption is a cultural development as profound as any in the twentieth-century musical world. It is especially relevant to late-1950s American rock and roll, in terms of the music's capture in the rapidly-evolving environment of the recording studio, its release into the marketplace via independent record labels, and its enthusiastic embrace by the burgeoning youth culture of the era. Within this multi-dimensional context, Zoom Records, a tiny, independent record label, was born in Tucson, Arizona. A unique convergence of technological, artistic, and commercial developments and historical events gives special import to the Zoom Records story, as a lesson in entrepreneurship, artistic expression and personal transformation.

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Datiles, M. J. "The Battle of Thermopylae (480 BC) in American popular culture." Thesis, University College London (University of London), 2016. http://discovery.ucl.ac.uk/1529323/.

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The ancient account of the Battle of Thermopylae (480 BC) that has become canonical for both scholars and filmmakers is found in Book VII of Herodotus’ The Histories. The account is a significant source that has been cited as the chief historical text for the cinematic renditions of the battle since its first celluloid appearance in 1962. However, the reproduction of history into film has often carried with it an implied value system that involves a preference for aesthetics over accuracy, audience expectation and satisfaction over literal historical authenticity as emerges in this thesis’ associated documentary film. What is seen through historical epic cinema is a struggle between accepted historical text and film fiction which has reaped disappointment in its extreme for the historian yet, more often than not, garners box office triumph for the Hollywood studio executive. The present study’s main focus is on the strategies employed during the film development, production, post-production and distribution processes of The 300 Spartans (1962) and 300 (2006). These strategies required an emphasis on creating the ‘look’ of Sparta and Thermopylae that perhaps operates separately from history, instead residing in the world of myth. In order to properly discuss the film renditions of the ancient battle, the production processes receive ample consideration while historical issues are discussed when vital for the interpretation and better understanding of the historical epics under investigation. Film methods and the production process of the films themselves are discussed, not for their own sake but to the extent that it is necessary for the study of cinematic receptions of antiquity to progress towards a more inclusive scholarship of film aesthetics and production. Serious study of this growing practice of interpreting the past through cinema should include emphasis not merely on textual translation, attention to plots and dialogues but on mise-en-scène and the production methods required for their execution. Only then can a more complete picture of what constitutes the ancient world on screen be achieved. This study of production processes as integral to our understanding of the look of historical films set in antiquity focuses in on the two aforementioned Thermopylae films as well as the acclaimed graphic novel, 300 (1998) which acted as a bridge between the two and allowed for the widely-successful transition of the battle’s cinematic representations from the Hollywood ‘Golden Age’ of the Cold War epic into twenty-first century big budget antiquity films.

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Ellis, Aimé Jero. "The "bad nigger" in contemporary Black popular culture : 1940 to the present /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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Rainey, James Edward. "Blurring Boundaries: The Rorschach Idea in Twentieth-Century American Popular Culture." W&M ScholarWorks, 2008. https://scholarworks.wm.edu/etd/1539626549.

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Mundey, Lisa M. "Images of the Armed Forces in American popular culture, 1945-1970 /." Search for this dissertation online, 2006. http://wwwlib.umi.com/cr/ksu/main.

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Vest, Jacques. "Making Authenticity: Polk Miller and the Evolution Of American Popular Culture." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2303.

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This thesis examines the life and musical career of James "Polk" Miller of Richmond Virginia, a Confederate veteran, and successful pharmacist. Miller claimed to offer the only authentic version of antebellum slave music, and was renowned as a convincing "negro delineator." In his focus on race, performance, and authenticity, Miller straddled a number of cultural currents linking him to his nineteenth century predecessors as well as the cultural milieu of the twentieth century. About the turn of the century, he added a black quartet to his act in order to more fully capture his conception of the "authentic" slave music of his youth, a decision that ultimately led to his failure as a stage performer. Audiences' receptions of Miller's quartet illuminate the dynamic way in which performance and race intersected in the early twentieth century.

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Call, Steven Charles. "A people's air force: Air power and American popular culture, 1945-1965 /." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487944660929528.

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Define, Lynn Dorsey. "Popular Culture, Thomas Beer, and the Making of "The Sound and the Fury"." W&M ScholarWorks, 1994. https://scholarworks.wm.edu/etd/1539625894.

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Schlueter, Jennifer. "Our lively arts: American culture as theatrical culture,1922-1931." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1194035587.

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Sullivan, Rebecca. "Revolution in the convent : women religious and American popular culture, 1950-1971." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0020/NQ55383.pdf.

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Reiley, Amy. "Revolution! Revolution! : feast, famine and general copulation in modern American popular culture /." Title page, table of contents and abstract only, 2004. http://web4.library.adelaide.edu.au/theses/09ARM/09armr3621.pdf.

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Borrero, Brittni M. "Faded Glory: Captain America and the Wilted American Dream." Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1334586489.

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Holdzkom, Marianne. "Parody and Pastiche: Images of the American Revolution in Popular Culture, 1765-1820." The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392116147.

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Harris, John Rogers. "The performance of black masculinity in contemporary black drama." Columbus, OH : Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1054742668.

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Thesis (Ph. D.)--Ohio State University, 2003.
Title from first page of PDF file. Document formatted into pages; contains vii, 233 p. Includes abstract and vita. Advisor: Stratos E. Constantinidis, Dept. of Theatre. Includes bibliographical references (p. 214-233).

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Basham, Cortney S. "Hal Lindsey's The Late, Great Planet Earth and the Rise of Popular Premillennialism in the 1970s." TopSCHOLAR®, 2012. http://digitalcommons.wku.edu/theses/1205.

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How people think about the end of the world greatly affects how they live in the present. This thesis examines how popular American thought about “the end of the world” has been greatly affected by Hal Lindsey’s 1970 popular prophecy book The Late, Great Planet Earth. LGPE sold more copies than any other non-fiction book in the 1970s and greatly aided the mainstreaming of “end-times” ideas like the Antichrist, nuclear holocaust, the Rapture, and various other concepts connected with popular end-times thought. These ideas stem from a specific strain of late-nineteenth century Biblical interpretation known as dispensational premillennialism, which has manifested in various schools of premillennial thought over the last 150 years. However, Lindsey translated this complicated system into modern language and connected it with contemporary geopolitics in powerful ways which helped make LGPE incredibly popular and influential in the 1970s and beyond. This paper includes an introduction to some essential concepts and terms related to popular premillennialism followed by a brief history of popular prophecy in America. The second half of this thesis examines the social, religious, and political climate of the 1970s and how Lindsey’s success connects to the culture of the Seventies, specifically conservative reactions to the various social movements of the 1960s. The last major section discusses Lindsey’s malleable theology and the power of interpreting the Bible “literally.” In the 1970s, conservative theologians and denominations won the battle to define certain concepts within Christianity including terms like “literal,” “inerrant,” and related terms, and Lindsey’s treatment of “the end times” reflects these definitions and how they affect Biblical interpretation. Finally, the conclusion fleshes out the appeal of popular premillennialism in the 1970s and into the present day.

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Tait, Lisa Olsen. "Mormon Culture Meets Popular Fiction: Susa Young Gates and the Cultural Work of Home Literature." Diss., CLICK HERE for online access, 1998. http://patriot.lib.byu.edu/u?/MTNZ,25499.

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Rich, Danielle Leigh. "Global Fandom: The Circulation of Japanese Popular Culture in the U.S." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/4905.

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This dissertation is a case study of the dissemination and circulation of Japanese popular cultures in the U.S., specifically focusing on the collective reception practices of individuals who identify as fans of Japanese animation, comic books, and video games. The key questions driving this project are: what difference does it make that young Americans are consuming popular cultures that are 1) international in origin and 2) specifically Japanese in origin? To answer these questions I carried out ethnographic research - such as subject interviews, questionnaires, and participant observation - to understand the significance of young adults' interest in Japanese animation and comic book works (usually referred to as "anime" and "manga," respectively). In response to my ethnographic investigation of U.S. fans' practices and experiences, I argue that many young Americans use their practices of consuming and circulating these international popular cultures to transform their immediate social landscapes, and therefore, their social and national identities as well. I also draw on methodologies from a variety of disciplines, pairing ethnographic fieldwork practices with audience reception and fandom studies, transnational media studies, and book studies approaches in order make connections between the social, cultural, performative, and national dimensions of Japanese popular culture fandom in the U.S. In addition to exploring subjects' relationship to the texts they consume, I also target the embodied spaces and processes by which Japanese popular culture is actually circulated and experienced by local U.S. audience groups. In doing so, I strive to follow the "digital life" Japanese popular culture has taken in its jump to English-language translation world-wide and the significant role fans have played in facilitating unofficial flows of Japanese popular culture through specific translation practices. I examine the scholarly and fandom struggle over ideological questions of the "authenticity" and "Americanization" of adaptations of Japanese media in the North American marketplace, as well as the struggle between fans and official adapters to assert forms of ownership over these representations. Such struggles involve these groups' often conflicting practices of adaptation, translation, and circulation of these cultures. This research adds an important dimension to current scholarship on cultural manifestations of globalization and so-called "Americanization" processes as I show how commodities from outside the U.S. are first received by U.S. audiences and then transformed through this audience's participatory engagement with the production and circulation of these works in the English language. As such, this research engages with key issues of cultural transmission, translation, practices of media localization, transnational flows, and identity formation and fandom.

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Shufelt, Catherine Armetta. ""Something wicked this way comes" constructing the witch in contemporary American popular culture /." Bowling Green, Ohio : Bowling Green State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1194289705.

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Dabbs, Ashlie C. "The Invisibility of “Second Sight”: Double Consciousness in American Literature and Popular Culture." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1319390310.

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Fredwest, Janice M. "Popular Library: Rethinking the Cultural Relevancy of the American Public Library." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1277140389.

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Brune, Jeffrey A. "Industrializing American culture : heartland radicals, Midwestern migration, and the Chicago Renaissance /." Thesis, Connect to this title online; UW restricted, 2007. http://hdl.handle.net/1773/10453.

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Selby, Shawn M. "Congress, Culture and Capitalism: Congressional Hearings into Cultural Regulation, 1953-1967." Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1212766295.

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Poulson-Bryant, Scott. "Everybody Is a Star!: Uplift, Citizenship, and the Cross-Racial Politics of 1970s U.S. Popular Culture." Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493340.

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“Everybody is a Star: Uplift, Citizenship and the Cross-Racial Politics of 1970s U.S. Popular Culture,” examines the ways in which popular culture in the mid-1970s operated as a site of citizenship formation for marginalized subjects, particularly African Americans, in the decade after the Civil Rights advances of the 1960s. Historically, the cultural production of black people in the United States has occupied a curious position, cohering as both a foundation of and marginal to the larger narrative of American popular culture. As a result of that positioning, African American popular culture often strikes a balance between expressing both “national” and “racial” identities. My dissertation looks at the tensions inherent in such a balancing act, and contemplates what roles history, cultural appropriation and citizenship formation as a process of “cultural adaptation” play in the production, dissemination and maintenance of African American cultural production. I first analyze this work—popular music, Hollywood film and Broadway theater aimed at mainstream audiences—as cultural citizenship work, broadly defined as the production of and interaction with culture by marginalized individuals as a way to negotiate the terms of citizenship alongside the more formal, political arenas in which citizenship is enacted. In the first chapter, I use a case study of the 1976 musical Bubbling Brown Sugar to argue that the aesthetic labor of this cultural citizenship work was used by African American culture producers to align the divergent strands of the “national” and the “racial.” Through analysis of The Wiz and Saturday Night Fever my second and third chapters ask a similar question yet from different, perhaps opposing textual vantage points: how does cross-racial cultural sharing enhance yet critique the American project? How can we theorize what I call the “usability” of race across the “color line” to critique embodied practices of cultural belonging?
American Studies

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Herbig, Art, A. Watson, Andrew F. Herrmann, and A. Tyma. "The Creation of Profs Do Pop!: A Critical Examination of Popular Culture Communities." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/790.

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de, los Reyes Vanessa. "From Conformity to Protest: The Evolution of Latinos in American Popular Culture, 1930s-1980s." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1505205872234436.

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Thomas, Quincy D. "Lycra, Legs, and Legitimacy: Performances of Feminine Power in Twentieth Century American Popular Culture." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1521852471021414.

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Francois, Marie Eileen 1963. "When pawnshops talk: Popular credit and material culture in Mexico City, 1775-1916." Diss., The University of Arizona, 1998. http://hdl.handle.net/10150/282621.

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This dissertation examines popular credit and material culture in Mexico City in the "long" nineteenth century. It considers the social relationships that constituted the pawning process, the development of pawning businesses, and the regulatory role of the state. The focus is on three sets of people--clients of pawning services, pawnbrokers, and state agents--as well as the material goods used to secure loans. For city residents, daily life was cash poor, a phenomenon that crossed class lines. Middle-class housekeepers, merchants and artisans as well as lower-class homemakers, carpenters and other workers faced daily challenges of meeting household, business and recreational needs with a scarcity of specie. The most common way to raise cash was to pawn material possessions such as clothing, tools, and jewels. The nature of the pawning process linked material culture and popular credit together as it was shaped by relations between pawnbrokers, pawning customers, and state agents. In order to obtain cash one had to have possessions for collateral, and the value of material goods determined one's credit line and the arena in which pawning occurred. Short-term credit secured by household goods financed cultural events, lifestyles, and further consumption. Pawnshops not only supplied credit, but they injected cash into a cash-starved economy. This study of pawning in Mexico City reveals a culture of negotiation: over what will be pawned, over values of goods and terms of credit, and over the freedom or pawnbrokers to make profits. This culture of negotiation was also one in which possessions served as tools of identity, cultural currency in the complexities of daily ethnic, gender and class relations in Mexico City. Pawning arenas included retail establishments in the colonial and early national period, the state-sponsored Monte de Piedad beginning in the late colonial period, and casas de empeno which emerged in the middle of the nineteenth century. Colonial and national states regulated the pawning business throughout this evolution, until the revolutionary state seriously curtailed interest rates and hence profits in the early twentieth century.

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Whitehead, Aaron T. "The “Fatty” Arbuckle Scandal, Will Hays, and Negotiated Morality in 1920s America." TopSCHOLAR®, 2015. http://digitalcommons.wku.edu/theses/1469.

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In the autumn of 1921, silent film comedian Roscoe “Fatty” Arbuckle was arrested for the rape and murder of a model and actress named Virginia Rappé. The ensuing scandal created a firestorm of controversy not just around Arbuckle but the entire motion picture industry. Religious and moral reformers seized upon the scandal to decry the decline of “traditional” moral values taking place throughout American society in the aftermath of World War I. The scandal created a common objective for an anti-film coalition representing diverse social and religious groups, all dedicated to bringing about change in the motion picture industry through public pressure, boycotts, and censorship legislation. In the face of this threat, the film industry created the Motion Picture Producers and Distributors Association, with Republican strategist Will Hays as its president. Hays worked to incorporate moral reformers into his new organization, giving them an outlet for their complaints while simultaneously co-opting and defusing their reform agenda. Hays’ use of public relations as the means to institute self-regulation within the motion picture industry enabled Hollywood to survive the Arbuckle scandal and continue to thrive. It also set up the mechanism by which the industry has effectively negotiated public discontent ever since.

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Lea, Carolyn. "Beyond Celebration: A Call for Rethinking Cultural Studies." Bowling Green, Ohio : Bowling Green State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1194285318.

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Taylor, Tomaro I. "Longshoremen's Negotiation of Masculinity and the Middle Class in 1950s Popular Culture." Scholar Commons, 2016. http://scholarcommons.usf.edu/etd/6592.

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This thesis considers mid-20th century portrayals of working-class longshoremen’s masculinity within the context of emerging middle-class gender constructions. I argue that although popular culture presents a roughly standardized depiction of longshoremen as “manly men,” these portrayals are significantly nuanced to demonstrate the difficulties working-class men faced as they attempted to navigate socio-cultural and socio-economic shifts related to class and the performance of their male gender. Specifically, I consider depictions of longshoremen’s disruptive masculinity, male identity formation, and masculine-male growth as reactions to paradigmatic shifts in American masculinity. Using three aspects of longshoremen’s non-work lives presented in A View from the Bridge, “Edge of the City,” and “On the Waterfront”—the house, the home, and leisure/recreational activity—I ground discussions of the longshoremen’s negotiation of masculinity within a conceptual framework based in masculinity studies, social construction, and psychoanalytic criticism. To both complement and supplement the core literary and cultural analyses presented in this text, oral history interviews have been included to provide a contextual basis for understanding longshoremen culture in the 1950s.

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Lee, R. Lena. ""Becoming an American princess?" the interpretations of American popular culture by young Korean girls living in the United States /." [Bloomington, Ind.] : Indiana University, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3215195.

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Thesis (Ph.D.)--Indiana University, Dept. of Curriculum and Instruction, 2006.
Source: Dissertation Abstracts International, Volume: 67-04, Section: A, page: 1216. Advisers: Jesse H. Goodman; Mary B. McMullen. "Title from dissertation home page (viewed May 14, 2007)."

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Boyd, Elizabeth Bronwyn. "Southern beauty : performing femininity in an American region /." Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/main.

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Konkle, Amanda. "MARILYN MONROE’S STAR CANON: POSTWAR AMERICAN CULTURE AND THE SEMIOTICS OF STARDOM." UKnowledge, 2016. http://uknowledge.uky.edu/english_etds/28.

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Although Marilyn Monroe was one of the most famous American film stars, and a monumental cultural figure, her film work has been studied far less than her biography. Applying C.S. Peirce’s semiotic categories of icon, index, and symbol, this research explains how Monroe acquired meaning as an actress: Monroe was a powerful, but simplified, public image (an icon); an indicator of a particular historical and social context (an index); and an embodiment of significant cultural debates (a symbol). Analyzing Monroe as an icon reveals how her personal life, which contradicted her official publicity story, generated public sympathy and led to a perceived intimacy between the star and her fans. Monroe’s persona developed through her roles in films about marriage. We’re Not Married (1952) and Niagara (1953) expose the pitfalls of marriage. In response to fan criticism of Monroe’s aggressive persona in these films, however, Darryl F. Zanuck, in Gentlemen Prefer Blondes and How to Marry a Millionaire (1953), consciously distanced Monroe both from her aggressive persona and her implicit criticism of marriage. Monroe’s films, in particular, The Seven Year Itch (1955), Bus Stop (1956), and Some Like it Hot (1959), also revealed the tensions inherent in postwar understandings of female sexuality. Monroe’s role in her final completed film, The Misfits (1960), both acknowledges and resists her status as a symbol. This film unites Monroe’s screen persona and off-screen life in resistance to conventional values: her character embraces divorce, lives with a man who is not her husband, and openly criticizes men who betray trust. This film most extensively interweaves Monroe as an icon, an index, and a symbol. In so doing, it reveals how Monroe embodied the contradictions inherent in both postwar culture and Hollywood stardom.

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