Dissertations / Theses on the topic 'California 1980s'

In 1980, Ronald Reagan became the fortieth president of the United States following an election that was said to have presaged a political turn to the right in that country. This thesis identifies three broad historical themes that characterised the period in the immediate aftermath of the 1980 election. Firstly, there was the notion that the voting public was becoming more conservative in its choices in federal politics. This is tested by looking at voter behaviour in the 1982 midterm elections. Secondly, the idea that the liberal-conservative dialectic was becoming less important in United States politics is examined using as a framework the actions and statements of prominent liberals. Thirdly, the thesis examines the accuracy of prognoses that were being made about liberalism as a viable political entity in the wake of the 1980 elections. These themes are examined via a series of parallel, occasionally overlapping narratives, following the main strands of liberal activity and thought in one state California in the early 1980s. Many of the sources used were derived from commentary that was being made as events unfolded. The debate about the meaning of the 1980 election therefore changes and this change is part of the story told here. Answering some questions also involved using source material that was more reflective. Hence, parts of the thesis are historiographical. Despite its political content, this thesis is a work of history. It examines the drama of men and women acting within their time, bound by the world around them, but also trying to change that world.

The structural change in the United States economy represented by the growth of the service sector has received a great deal of discussion and analysis in recent years. The purpose of this study is to identify the factors that have determined the growth of the separate service sectors (namely distributive, personal, social, and business) from 1960 to 1980 in the regional economy of California. The research addresses many issues. First, a general discussion is presented of the structural change in the United States economy toward a growing service sector. An obvious indicator of this change is the disproportionately higher rate of employment growth in the service industries as compared to the goods producing sectors. Second, it is pointed out that the current structural shift toward service affects the regional economy in shifting the labor force toward a service-oriented economy. Establishing the basic facts of this change, the research investigates the role of the four service industries in the region of California. This is carried out by analyzing the market and industrial factors thought to be the determinants of this growth and the causes of decentralization within the metropolitan areas in California. The empirical findings offer some answers to question of cause for employment changes in the service industries in the regional economy. The most important is that the growth of employment in the four service industries is not brought about by a single factor. Rather, growth is attributable to a combination of market and industrial variables, and the relative strength of the variables differs among the different service industries. The research also presents findings about the relationships among the service industries in terms of the employment changes in them. In general the research provides a contribution to future discussions of the service industries in the metropolitan labor market of the regional economy, and of the nature of regional occupational growth arising out of the structural change described.

A high resolution, multi-level, primitive equation ocean model is used to examine the response of an idealized, flat-bottomed, eastern boundary oceanic regime on a beta-plane to climatological average (1980-1989) and individual yearly (1980-1983) wind forcing. The focus of this study is the California Current System (CCS) along the coastal region, from 35 deg N to 47.5 deg N, of the Western United States. Five experiments were initialized from a state of rest and two from the fields remaining at day 360 from the climatological average wind forcing. With the climatological average wind forcing, a surface equatorward jet and poleward undercurrent are generated. Eddies form along the entire eastern boundary and a field of cyclonic eddies approximately 200 km in diameter remain at day 360. Results for the non-El Nino (1980-1981) years are very similar to the results for the climatological average wind forcing. Early in the year, the El Nino wind fields for 1983 are more intense than the average and 1980-1982 winds, and they have a much stronger poleward component. A surface poleward current develops over an equatorward undercurrent

[EN] Study of the backgrounds and scenarios of the commercial animation cinema made in the United States in the 1980-2005 period. The 80 full-lenght feature films we understand as more representative of the industrial production of the period have been critically reviewed, bearing in mind, at all times, the context in which they were created: the commercial policy of the cinematographic studios and, most specially, the technological evolution along those 25 years, in which we witness the shift from traditional to digital animation, with all its intermediate hybrid forms. A synopsis of the United States pictorical styles evolution is also done, as possible references for the background painters. To develop the central aim of this study the pictorial treatment of the different elements that compose the backgrounds are systematically analyzed. This elements can be natural (clouds, rocks, vegetation, etc.), human constructions (castles, ancient and modern cities, interiors and objects) and fantastic and futuristic environments. Likewise the use of light and chromatism in backgrounds is studied as a dramatic resource in the different situations of the cinematographic narrative. Finally, on the basis of a synthesis of the perceptive phenomenon in the visual arts, the modalities of perspective (mostly conical perspective drawing, exceptions and alterations) used in the making of the backgrounds are analyzed, as well as the use, expressive possibilities and contribution of each one to the visual development and story dramatization.<br>[ES] Estudio de los fondos y escenarios del cine de animación comercial estadounidense en el periodo 1980-2005. Se han revisado críticamente los 80 largometrajes que entendemos como más representativos de la producción industrial del periodo, teniendo presente, en todo momento, el marco en que se crearon: la política comercial de los estudios cinematográficos y, muy especialmente, la evolución tecnológica a lo largo de esos 25 años, en los que se asiste al cambio de la animación tradicional a la digital, con todas sus formas híbridas intermedias. También se realiza una sinopsis de la evolución de los estilos pictóricos en los Estados Unidos, como posibles referencias para los pintores de fondos. Para desarrollar el objetivo central del trabajo se analiza de forma sistemática el tratamiento pictórico de los distintos elementos que componen los fondos. Estos elementos pueden ser naturales (nubes, rocas, vegetación, etc.), construcciones humanas (castillos, ciudades antiguas y modernas, interiores y objetos) y ambientes fantásticos y futuristas. Así mismo se estudia el uso de la luz y el cromatismo en los fondos como recurso dramático en las diferentes situaciones del relato cinematográfico. Por último, sobre la base de una síntesis del fenómeno perceptivo en las artes visuales, se analizan las modalidades de perspectiva (mayoritariamente el dibujo de perspectiva cónica, sus excepciones y alteraciones) utilizadas en la elaboración de los fondos y el uso, posibilidades expresivas y contribución de cada una de ellas al desarrollo visual y a la dramatización de la historia.<br>[CAT] Estudi dels fons i escenaris del cinema d'animació comercial nord-americana en el període 1980-2005. S'han revisat críticament els 80 llargmetratges que entenem com més representatius de la producció industrial del període, tenint present, en tot moment, el marc en què es van crear: la política comercial dels estudis cinematogràfics i, molt especialment, l'evolució tecnològica al llarg d'eixos 25 anys, en els quals es que s'assistix al canvi de l'animació tradicional a la digital, amb totes les seues formes híbrides intermèdies. També es realitza una sinopsi de l'evolució dels estils pictòrics als Estats Units, com a possibles referències per als pintors de fons. Per a desenvolupar l'objectiu central del treball s'analitza de forma sistemàtica el tractament pictòric dels diferents elements que componen els fons. Aquests elements poden ser naturals (núvols, roques, vegetació, etc.), construccions humanes (castells, ciutats antigues i modernes, interiors i objectes) i ambients fantàstics i futuristes. Així mateix s'estudia l'ús de la llum i el cromatisme en els fons com a recurs dramàtic en les diferents situacions del relat cinematogràfic. Finalment, sobre la base d'una síntesi del fenomen perceptiu en les arts visuals, s'analitzen les modalitats de perspectiva (majoritàriament el dibuix de perspectiva cònica, les seues excepcions i alteracions) utilitzades en l'elaboració dels fons i l'ús, possibilitats expressives i contribució de cadascuna d'elles al desenvolupament visual i a la dramatització de la història.<br>Pardo Cervera, U. (2015). La perspectiva en animación: Análisis de los fondos en largometrajes de animación producidos en California entre 1980 y 2005 [Tesis doctoral]. Editorial Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/53350<br>TESIS

Thesis (M.A.)--University of California, San Diego, 2010.<br>Title from first page of PDF file (viewed April 15, 2010). Available via ProQuest Digital Dissertations. Includes bibliographical references (p. 92-100).

Un groupe d'étudiants rassemblés par des idéaux artistiques se forme à l'Université de Californie San Diego dans la décennie 1970. Fred Lonidier, Martha Rosier, Allan Sekula et Phel Steinmetz, résolument tournés vers la photographie, élaborent une pensée collective sans toutefois former un groupe officiel. Pourtant, le partage d'une émulation propre à la côte Ouest du pays et à l'université où la pensée de figures tutélaires comme D. Antin, H. Marcuse, J. Baldessari, B. Brecht, H. Lefebvre ou H. Haacke stimule collectivement les esprits, confère aux méthodes et démarches des photographes une résonnance de groupe. En plus, Documentary and Corporate Violence, texte rédigé par A Sekula en 1976, utilise le terme de petit groupe pour qualifier les photographes. Ce texte auquel nous attribuons le statut de manifeste, critique la lecture moderniste des photographes documentaires américains traditionnels. Il expose également les attitudes mises au point par le groupe que nous identifions sous le nom de Nouveau Documentaire Social. Parmi celles-ci se distingue une pratique photographique documentaire ouverte à d'autres médium, une forte présence textuelle, des scénographies et circuits d'exposition repensés, des audiences élargies, un intérêt pour des thématiques ancrées dans l'actualité militante, ou encore un regard vers le quotidien et le banal comme témoins des bouleversements des schémas sociétaux. Objet à déconstruire, la photographie moderniste et les institutions qui la célèbrent représentent une tradition documentaire à renouveler. Ce contexte de remise en question collective et les propositions documentaires qui en sont issues constituent l'objet de cette étude<br>A group of students gathered around shared artistic ideals comes to life at University of California San Diego in the nineteen-seventies. Fred Lonidier, Martha Rosier, Allan Sekula and Phel Steinmetz, ail firmly focused on photography, elaborate a collective thought albeit never actually founding an official group. However, a shared emulation endemic to the West Coast and to the university where ideas birthed by leading thinkers such as D. Antin, H. Marcuse, J. Baldessari, B, Brecht, H Lefebvre or H. Haacke collectively stimulates the minds of those around, adds a certain group resonance to the photographers' methods and processes. Furthermore, Documentary and Corporate Violence, a text written by A Sekula in 1976, uses the term small group to refer to the photographers involved This text - to which we give the status of manifesto - criticizes the modernist reading of traditional american documentary photographers. It also exposes the attitudes developed by this group which we coin as New Social Documentary. We will distinguish one of these attitudes from the others : a documentary photographic practice which opens itself to other media, displays a strong textual presence, newly-thought scenography and exhibition paths, widened audiences, an interest in themes strongly anchored in contemporary activism, and which transforms what was so far considered as banal and mundane into testimonies of profound changes in societal structure. Modernist photography, an object to deconstruct, as well as the institutions that celebrate it represent a documentary tradition which needs to be renewed. The new documentary propositions along with the context of collective questioning from which they derive constitute the object of this study

This professional project estimates the upfront costs and utility savings expected from greening an approximately 1,100 square foot home built in the 1950s in the San Francisco Bay Area. Two sets of upgrades (alternative and original) were compared for costs and benefits. The alternative set (which included ceiling insulation and omitted upgrading to dual-pane windows) clearly out performed the original set. The alternative set would be expected to reduce resident utility bills by 28% annually, and to prevent approximately 2,700 lbs of carbon dioxide emissions annually. The water efficiency upgrades were the best performing group of upgrades, as they had the lowest upfront cost and shortest payback period. (These water efficiency upgrades consisted of modifying toilets, faucets, and showerhead, as well as upgrading the dishwasher and clothes washer to efficient models.) Future very low-budget greening programs, in nearly all cases, should include a full-set of water fixture modifications, weatherstripping, and clotheslines. As budgets allow, other upgrades from alternative upgrades list are recommended, such as ceiling fans, programmable thermostats, and ceiling insulation. Whenever possible, workforce development labor should be used to simultaneously reduce labor costs and multiply the social benefit of each project dollar by providing entry-level green collar jobs.

This dissertation traces the ways in which the emergent countercultures on the West Coast, in parallel with the high-technology industrial complex of Southern California, fostered ad-hoc experimentation with technology in studio and post-studio practices. In the studio, individual artists researched, experimented with, and became self-taught experts on discrete technologies. In comparison, post-studio methods functioned less as a top-down mastery and innovation within a singular craft (as in the initial studio methods), and, instead, involved the creation of immersive, perceptual environments. The Introduction situates the development of the art/technology phenomenon alongside the emergence of the art scene in Los Angeles, expanding the literature in relation to other more established histories. Each of the first three chapters focuses on one case study--Larry Bell, Mary Corse, and Fred Eversley--to reveal the scope of appropriated technologies and the permutations within various mediums (glass sculpture, industrial lighting schematics, acrylic painting, and polyester sculpture). Chapter 4 analyzes this plurality, focusing on the appropriation of cognitive psychology. As technological appropriation became more commonplace, and particularly as some artists came to require larger spaces, curators and institutions helped orchestrate experimentation with immersive environments. I explore the range of post-studio practices in the works of Lloyd Hamrol, Tom Eatherton, Michael Asher, Robert Irwin, James Turrell, Maria Nordman, and Eric Orr, among others, and include Hal Glicksman as a key example of curatorial influence. The concluding chapter considers the art/technology legacy alongside themes of dilapidation and obsolescence. This dissertation demonstrates how art with reflective and/or transparent materials of high-tech industry prescribed movements for viewer engagement--an embodied experience of mobile spectatorship in Los Angeles of the 1960s and 1970s. I correlate these movement patterns, in parallel with light, space, and sourced technology, to the experience of each work.

This thesis focuses on the theme of the journey and the changes that occur in the socio-historical context of the Great Depression as well as in John Steinbeck's The Grapes of Wrath. The thesis is an expository piece on road literature, its features and how the chosen novel has earned its rightful place in the American oeuvre, specifically that of road literature. The thesis is separated into two major parts. The former part provides the reader with a socio- historical context of the Great Depression as well as a background on the historical patterns of the 'journey' in America and how these two aspects are interrelated in the context of this thesis. The latter part constitutes the analysis of John Steinbeck's The Grapes of Wrath by including the authorial relationship to the novel and the many aspects of the novel as studied through the scope of road literature. This part is further expanded by a close-up analysis of the changes in identity of characters in The Grapes of Wrath. The primary focus is on the notion of change and how it is connected to the notion of the road, including how the human being stands between these notions and is transformed in the process. Keywords: change, mobility, flight, escape, John Steinbeck, The Grapes of Wrath, American Dream, hope, depression, 1930s, Great...