Relevant bibliographies by topics / Feminist films / Dissertations / Theses
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Dissertations / Theses on the topic 'Feminist films'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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1

Danino, Regina. "Experimental film : Catholic and feminist readings of my films (2010-2016)." Thesis, University of Westminster, 2017. https://westminsterresearch.westminster.ac.uk/item/q32q8/experimental-film-catholic-and-feminist-readings-of-my-films-2010-2016.

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The commentary addresses the works in the Research Portfolio (2010-2016) which consists of three films and one multi-media installation. These films are experimental but look very different from my previous work. This reflects my decision to address figuration and realist representation in order to expand and develop my experimental film language. The works are collective and individual portraits of women in monastic life, and one is a portrait of a young girl in a Catholic iconography. In these new works I find out what happens when you insert direct works about religion into an art space tha
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2

Hamilton, Jayne. "Gender representation and textual strategies in the films of Pilar Miro." Thesis, University of Newcastle Upon Tyne, 1997. http://hdl.handle.net/10443/286.

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This thesis aims to demonstrate the interrelatedness of the rebellious form and content of Pilar MirO's first six films - La petición (1976), El crimen de Cuenca (1979), Gary Cooper gue estás en los cielos (1980), Hablamos esta noche (1982), Werther (1986) and Beltenebros (1991). The Introduction provides a brief outline of the director's life and an insight into some of the core themes of her cinema, summaries of relevant theoretical arguments from psychoanalysis and gender theory in the context of sociology and film studies and an outline of the situation of men and women in Spain vis-à-vis
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3

Katona, Leah Andrea. "The Use of Violence as Feminist Rhetoric: Third-Wave Feminism in Tarantino's Kill Bill Films." CSUSB ScholarWorks, 2008. https://scholarworks.lib.csusb.edu/etd-project/2759.

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For the purpose of this thesis, the main focus of the feminist rhetorical criticism method was specifically linked to gender-related power inequities. This method was especially appropriate for the analysis of how film violence is used as a feminist rhetorical strategy in the Kill Bill films. This thesis is more closely aligned with challenging rhetorical standards as it sought to identify feminist counter positions of rhetoric in film violence.
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4

Chan, Lai Man Amelia. "Nicole Kidman :gender equality and feminist ideology in films." Thesis, University of Macau, 2018. http://umaclib3.umac.mo/record=b3953456.

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5

Budirska, Alzbeta. ""This Is a Forced Feminist Agenda" : IMDb users and their understanding of feminism negotiated in the reviews of superheroine films." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-104302.

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The thesis examines how users of the Internet Movie Database (IMDb) negotiate feminism in their reviews of four superheroine films – Wonder Woman, Captain Marvel, Birds of Prey: The Fantabulous Emancipation of One Harley Quinn, and Wonder Woman 1984. By combining critical discourse analysis with methods of corpus linguists, this corpus-based study of over 18,000 reviews analyses the frequency of the topic of feminism in the reviews, words and topics associated with it and the way the reviewers reflect broader mediated discourse over the four films, and the role of IMDb as a space for these rev
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6

Sinner, Megan. "FEMINISM IN THE FILMS OF NEW GERMAN COMEDY." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1146072869.

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7

Goulden, Jan. "The western, the buddy movie and noir : lesbian re-readings of the American action movie." n.p, 1999. http://library7.open.ac.uk/abstracts/page.php?thesisid=13.

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8

Cherry, Brigid S. G. "The female horror film audience : viewing pleasures and fan practices." Thesis, University of Stirling, 1999. http://hdl.handle.net/1893/2268.

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What is at stake for female fans and followers of horror cinema? This study explores the pleasures in horror film viewing for female members of the audience. The findings presented here confirm that female viewers of horror do not refuse to look but actively enjoy horror films and read such films in feminine ways. Part 1 of this thesis suggests that questions about the female viewer and her consumption of the horror film cannot be answered solely by a consideration of the text-reader relationship or by theoretical models of spectatorship and identification. A profile of female horror film fans
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9

Geloğullari, Gülin. "Female Friendship Films: A Post-Feminist Examination of Representations of Women in the Fashion Industry." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc848090/.

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This thesis focuses on three fashion industry themed female friendship films: Pret-a-Porter/Ready to Wear (1994) by Robert Altman, The Devil Wears Prada (2006) by David Frankel, and The September Issue (2009) by R.J. Cutler. Female interpersonal relationships are complex – women often work to motivate, encourage and transform one another but can just as easily use tactics like intimidation, manipulation, and exploitation in order to save their own jobs and reputations. Through the lens of post-feminist theory, this thesis examines significant female interpersonal relationships in each film to
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10

Su, Xin. "Ideas of film authorship : a study of theories and concepts of agency and subjectivity in film authorship, with a conclusion on the possible configuration of a future theoretical model of feminist film authorship." HKBU Institutional Repository, 2010. https://repository.hkbu.edu.hk/etd_ra/1101.

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11

Kramer, Heidi Tilney. "Monsters Under the Bed: An Analysis of Torture Scenes in Three Pixar Films." Scholar Commons, 2013. http://scholarcommons.usf.edu/etd/4525.

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With background information on militarism, nationalism, and torture, this study analyzes Monsters, Inc., Toy Story 3, and The Incredibles, three Pixar films released from 2001 through 2010, for the ways in which the torture scenes are framed. These frames, state control, prisons, and 60s spy thrillers, invite laughter through intertextuality, while deflecting attention from torture of central characters in the films. The implications of this analysis are: these films present torture as deserved and normative; the tortured characters stand outside the frames of recognition for humanness; and th
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12

Sun, Xueling. "Wandering Women in Cinema, from Julie to Star: Female Subjectivity and Female Spectatorship in Feminine Road Films." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/cmc_theses/1545.

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This paper serves to explore how female subjects are represented in films featuring a woman on the road in ways that can create a female gaze, as an alternative to the male gaze. It looks for answers in four films from the 1970s to 2016, all made by female filmmakers, which are Je, Tu, Il, Elle (1974), Vagabond (Sans Toit Ni Loi) (1978), Wendy and Lucy (2008) and American Honey (2016). All four films share approaches that reject objectification in the depiction of females, but each is distinctive in their filmi strategies. Focusing on each work individually while attempting to make comparisons
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13

Kapler, Desiree Dawn. "below the neck, above the knees." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4831.

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My thesis explores the act of violation in the context of trauma and healing through the use of personal narratives and experimental film. My research allows personal storytelling to transform into a larger and more universal theme of generational trauma and dysfunction. Through a feminist lens, I challenge social norms of body autonomy for the sick and abused, capitalism’s social effects on the poor, and passed down maternal lessons from the women who are doing the best that they can with the lives and opportunities that they have been given. This work is created in spite of the labels my mo
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14

Silas, Elizabeth J. "THEMES OF AWAKENING IN MAINSTREAM FILMS: FEMALE SUBJECTS AND THE LACANIAN SYMBOLIC." Connect to this document online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1133495057.

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Thesis (Master of Arts)--Miami University, Dept. of Mass Communication, 2005.<br>Title from first page of PDF document. Document formatted into pages; contains [1], iv, 63 p. Includes bibliographical references (p. 58-63).
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15

Reid, David. "'Just looking' : gazing at the male gaze; the representation of women in the films of Michelangelo Antonioni and Rainer Werner Fassbinder, and in the photography of Jeff Wall and Thomas Struth." Thesis, University of Derby, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.322598.

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16

Calderon, Sandoval Orianna Aketzalli <1987&gt. "Visualising In/Equalities through Contemporary Documentary Cinema. A Diffractive Reading of Feminist Practices in Spanish and Italian Non-Fiction Films." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2019. http://amsdottorato.unibo.it/9087/1/Calderon_Orianna_Tesi.pdf.

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This thesis brings together feminist documentary film theory and feminist new materialism(s) to describe how feminist material-discursive practices in a sample of Spanish and Italian documentary cinema made between 2013-2018 (can) visualise gender in/equalities. The accomplished objectives have been: 1. Building a bridge between feminist documentary film theory and Karen Barad’s diffractive methodology by approaching non-fiction cinema that deals with social inequalities as a diffraction apparatus. 2. Developing a feminist toolbox for a response-able gaze by gathering different insights from f
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17

Rubaba, Protas Pius. "The influence of feminist communication in creating social transformation : an analysis of the films Moolaadé (Ousmane Sembène) and Water (Deepa Mehta)." Thesis, Nelson Mandela Metropolitan University, 2009. http://hdl.handle.net/10948/888.

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In many societies in developing countries, women are not given a chance to communicate their issues. The organisation within these societies places men at the top, giving them the opportunity to make all the important decisions. This situation is reflected in the two films which fall under this study, namely, Water and Moolaadé both of which are fictional representations of the oppression of women. In this study, an attempt is made to explain communication struggles in the two films: Water, reflecting Indian society and Moolaadé, reflecting African society. To understand the outcome of these s
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18

Van, Niekerk Tanya. "'N Feministiese analise van animasiekarakters vanuit 'n feministiese benadering." Diss., Pretoria : [s.n.], 2003. http://upetd.up.ac.za/thesis/available/etd-10122004-135247.

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19

Tobin, Erin C. "Campy Feminisms: The Feminist Camp Gaze in Independent Film." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1594039952349499.

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20

Santiago, Maillim. "Little women: study of female representations in teen films and how those representations have affected gender perceptions." Honors in the Major Thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/908.

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Although teen film is littered with tales of young women coming of age, the messages presented in most of these films follow a formula centered on a patriarchal nuclear family ideal, which leads to damaging perceptions regarding gender roles in teenage society. There is the main traditional model of stay at home mother with a father in the role of the breadwinner; the rise of rape culture; and the glass ceiling in the workplace. The young females consuming a mass amount of this media then reflect negatively on themselves. The research following this conundrum was broken into two parts: the pro
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21

Arteaga, Loarte Carmen del Pilar. "El uso del lenguaje cinematográfico para representar la feminidad en el cine asiático." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/653167.

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El cine asiático, puede tomarse como un tipo de paradigma que se ha tratado de alejar del establecido por la casi monopólica industria del cine hollywoodense. Este cine se ha etiquetado eurocéntricamente como “cine periférico”, todo esto a causa de la simplificación a la que a veces se somete a estas cinematografías, desdibujando su rica diversidad. A veces un cine cargado de sensualidad cinematográfica pero no explícita necesariamente, sino más bien sutil. Desarrollan tramas no tan complejas, o en ocasiones si, pero que emplean un ritmo cinematográfico lánguido con elementos visuales y auditi
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22

Mancini, Tanna Alice. "When Bad Things Happen to Good Mothers: Rethinking Motherhood Through the Single Mother Image in American Films from the 1930s to the 1970s." Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4142.

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ABSTRACT The single-mother figure shows up in myriad American film genres, and my thesis explores three of these genres, maternal melodrama, film noir, and horror. I argue there is a melodramatic mode that carries over from maternal melodrama to film noir and horror. This mode emphasizes emotional excess. In maternal melodrama, the emotional excess is pity. For film noir, the emotion is anxiety, and in horror, it is repulsion. Even though each genre has its own emotional excess, maternal melodrama still speaks to these other genres through its maternal sacrifice, non-heteronormative famil
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23

Edström, Josefine. "The Feminized People and the Patriarchal State: Studying the Portrayal of Gender in North Korean Films." Thesis, Uppsala universitet, Statsvetenskapliga institutionen, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-338720.

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24

McCabe, Janet. "Addicted to distractions : imagined female spectator-participants and the early German popular cinema as discourse, 1910-1919." Thesis, University of Kent, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369685.

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25

Ribes, Pericàs Francina M. "Absència i excés: la lesbiana assassina en el cinema comercial contemporani." Doctoral thesis, Universitat Autònoma de Barcelona, 2019. http://hdl.handle.net/10803/669836.

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Aquesta investigació aborda la paradoxa entre la (in)visibilitat de l’homosexualitat femenina al cinema comercial contemporani i la presència de personatges que protagonitzen explícites escenes lèsbiques en el cinema mainstream. Les protagonistes d’aquestes imatges són generalment figures femenines de força que exerceixen la violència i l’assassinat. Es detecta així l’arquetip de la lesbiana assassina, que cristal·litza durant l’auge del neo-noir al Hollywood dels anys 90. L’encarnen feminitats excessives, hereves de la dona fatal clàssica i properes a la recurrent figura de la vampira l
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Ryan, Ashley M. "Feminist Boyfriend." Digital Commons at Loyola Marymount University and Loyola Law School, 2018. https://digitalcommons.lmu.edu/etd/672.

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Garrett, Roberta. "Postmodernist cinema and feminist film criticism." Thesis, Staffordshire University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272823.

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28

Layman, Amanda. "The Problem with Pussy Power: A Feminist Analysis of Spike Lee's Chi-Raq." University of Akron / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=akron1490453172203067.

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29

Basili, Tiffany. "Final Girls and ‘Mother’: Representations of Women in the Horror Film from the 1970s to the Present." Thesis, The University of Sydney, 2021. https://hdl.handle.net/2123/25706.

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Alfred Hitchcock’s Psycho (1960) marked the beginning of what is now referred to as the modern or contemporary era of the horror film. Prior to Psycho’s release, during the classical era, danger came from outside the traditional, nuclear family unit. Following Psycho, the perils in horror films now prevalently come from within: within the home, within the family, and within the psyches of average-seeming, relatable, Anglo-Saxon men and women. In this thesis I will argue that, aside from its contributions to the horror genre as a whole, Psycho provided the template for the three most common
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Green, Caroline Ann. ""She has to be controlled" : exploring the action heroine in contemporary science fiction cinema." Thesis, University of Exeter, 2010. http://hdl.handle.net/10036/3052.

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In this dissertation I explore a number of contemporary science fiction franchises in order to ascertain how the figure of the action heroine has evolved throughout her recent history. There has been a tendency in film criticism to view these strong women as ‘figuratively male’ and therefore not ‘really’ women, which, I argue, is largely due to a reliance on the psychoanalytic paradigms that have dominated feminist film theory since its beginnings. Building on Elisabeth Hills’s work on the character of Ellen Ripley of the Alien series, I explore how notions of ‘becoming’ and the ‘Body without
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31

Su, Donghui. "两代中国女性导演视角下的女性电影中女性意识之比较研究 : —以《人鬼情》和《送我上青云》为例". Thesis, Högskolan Dalarna, Institutionen för språk, litteratur och lärande, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:du-37596.

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As a product of the western feminist movement, feminist films have become an important tool for displaying feminist connotations and reflecting femalec onsciousness. With the advancement of society and the awakening of female consciousness, feminist film theory, criticism and practice have gradually taken a place in the film system dominated by male discourse power, and have constantly tried to speak for women on the big screen. After China's reform and opening up, feminism took root in China. In the 1980s, under the influence of western feminist film theory and practice, Chinese female filmma
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Vollmer, Ulrike. "Seeing and seen : film and feminist theology in dialogue." Thesis, University of Sheffield, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.398714.

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33

Tay, Sharon Lin. "Beyond sexual difference : sustaining feminist politics in film theory." Thesis, University of East Anglia, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.405693.

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Hobson, Amanda Jo. "Envisioning Feminist Genre Film: Relational Epistemology, Catharsis, and Erotic Intersubjects." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1604074749500538.

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Gordon, Suzy May. "Weird lullabies : film, feminism and Melanie Klein." Thesis, University of Sussex, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.394267.

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36

Nyh, Johan. "From Snow White to Frozen : An evaluation of popular gender representation indicators applied to Disney’s princess films." Thesis, Karlstads universitet, Institutionen för geografi, medier och kommunikation, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-36877.

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Simple content analysis methods, such as the Bechdel test and measuring percentage of female talk time or characters, have seen a surge of attention from mainstream media and in social media the last couple of years. Underlying assumptions are generally shared with the gender role socialization model and consequently, an importance is stated, due to a high degree to which impressions from media shape in particular young children’s identification processes. For young girls, the Disney Princesses franchise (with Frozen included) stands out as the number one player commercially as well as in cust
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Luckner, Victoria. "“I AM NOT A PRINCESS BUT…”: AN IDEOLOGICAL CRITICISM OF “FEMINIST” IDEOLOGIES IN DISNEY’S MOANA." CSUSB ScholarWorks, 2018. https://scholarworks.lib.csusb.edu/etd/753.

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In 2016, Disney animation studios released their newest princess film Moana. The film follows a seemingly feminist plot line of a young female heroine who saves the world from destruction. This study examines Moana (2016) in relation to the views on feminism in the U.S. Disney’s large social and economic influence provides rich grounds for this research. Using an ideological rhetorical criticism, I uncovered the presented and suggested elements of the film. These elements combined with research on U.S. feminist ideology allowed three ideological themes to emerge: ecofeminism, power feminism, a
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Ulrich, Taylor Jade. "James Deen: The Feminist Enigma." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/364.

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James Deen and his distinct following of fans has allowed for a discussion of what pornography means to women and teenage girls to be teased out. His fans are vocal, public and unashamed in their fascination with him, dismissing previously held ideologies that porn be a clearly private activity that is shameful to be addressed publicly; especially for women. James Deen’s uniquely unintimidating demeanor, both physically and personally, has made him more forgivable for his mistakes (i.e. rape “joke” Tweets), evidence of an intense desire for women to find porn that they can relate to and positi
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Adams, Megan E. "Flicking the Bean on the Silver Screen: Women’s Masturbation as Self-Discovery and Subversion in American Cinema." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1300749024.

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Collard, Jessica Michelle. "Can You Believe She Did THAT?!:Breaking the Codes of "Good" Mothering in 1970s Horror Films." Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4301.

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The threats found in horror films change with time, each decade consisting of threats that were most frightening for the time period. Horror film scholars, such as Andrew Tudor, determined that in 1970s horror films the threat has migrated from external forces into the home and the family. Invading aliens and monsters were thrown replaced by psychosis and evil children. This notion of making the familiar unfamiliar and threatening is paralleled in concerns addressed during the second-wave of feminism; women were making the normative and familiar idea of mother unfamiliar as they migrated from
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Pucill, Sarah. "Mourning, materiality and the feminine : Sarah Pucill's films 2004-2010." Thesis, University of Westminster, 2014. https://westminsterresearch.westminster.ac.uk/item/964y8/mourning-materiality-and-the-feminine-sarah-pucill-s-films-2004-2010.

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The writing-up of this PhD has examined experimental films I made between 2004 and 2010, in all five 16mm films: Stages Of Mourning, (17min, 2004), Taking My Skin, (35min, 2006), Blind Light (21min, 2007), Fall In Frame (19min, 2009), Phantom Rhapsody (19min, 2010). As I have been making films that have been exhibited and funded in the public field since 1990, the films included here constitute just less than half of my total films to date. The commentary is divided into three sections, each of which analyses the films from a particular perspective. In each section the five films are considere
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Van, Hemert Tess. "International acclaim : the role(s) of the international film festival in supporting emerging women’s cinema." Thesis, Queensland University of Technology, 2013. https://eprints.qut.edu.au/63269/1/Tess_Van_Hemert_Thesis.pdf.

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International Film Festivals act as important sites for the exhibition of contemporary world cinema. Film festivals represent an increasingly transnational film culture, where audiences, filmmakers, distributors, press, critics and academics come together from all over the world to discover new films, network with one another and debate about the past, present and future of cinema. This research project investigates the role that international film festivals play within the wider international film industry, with a specific focus on emerging women filmmakers. It therefore explores the arena
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Sydeman, Melissa. "Misogynist politics : film theory, feminism and Brian De Palma." Thesis, University of Oxford, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.386520.

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44

Hicks, Pamela Jane. "A gaze of one's own : feminist film theory, with application to Klute." Master's thesis, University of Cape Town, 1994. http://hdl.handle.net/11427/18260.

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This study is concerned with the development of a field of film theory around the place of the female spectator. Chapter 1 presents an historical overview of some trends in the development of film theory, with emphasis on the emergence of a paradigm in which theories of semiotics, ideology and psychoanalysis intersect. It critically assesses the establishment of a dominant theory founded in the notion of film as art, proposing certain parallels between this and contemporary Leavisite literary theory, and notes auteurism as the point of departure from this into the consideration of film as popu
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Dancey, Angela Clair. "Before and after the makeover in film and culture /." Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1126899524.

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Davis, Amy Michele. "Disney's women : changes in depictions of femininity in Walt Disney's animated feature films, 1937-1999." Thesis, University College London (University of London), 2001. http://discovery.ucl.ac.uk/1382007/.

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The animated films of Walt Disney have played an important role in American culture. Most Americans, either during childhood or adulthood, have been exposed to at least some of them. The films themselves have, in some respects, reflected American society and culture. They may also, at least to some extent, have influenced them. As academic scholarship on the history of Hollywood film has grown, various aspects of Disney's influence and cultural position have likewise come to be the focus of study. In recent decades, also, there has been a continually greater interest in the role of women in Am
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Richter, Nicole Marie. "Our Veils Anticipate Our Shrouds: Eroticism in the Films of Catherine Breillat." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/420.

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This dissertation is an authorship study of the controversial contemporary French film director Catherine Breillat. Using screen captures to provide visual evidence for the philosophical and theoretical perspectives staked out by Breillat, I perform close analysis of the following six films: Une Vrai Jeune Fille (1976), 36 Fillette (1988), Romance (1999), À Ma Soeur (2001), Brève Traverseé (2001), and Anatomie de L'enfer (2004). Using theory only to supplement interpretations, I draw on the work of George Bataille, Stanley Cavell, and Slavoj Zizek. Breillat's films work through a series of imp
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Sinner, Megan. "Feminism in the films of new German cinema Sherry Hormann and Katja von Garnier." Saarbrücken VDM Verlag Dr. Müller, 2007. http://d-nb.info/988019183/04.

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Du, Toit Jeanne Erika. "Power and pleasure : the politics of film analysis and feminist community media education." Master's thesis, University of Cape Town, 1999. http://hdl.handle.net/11427/21691.

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Bibliography: pages 216-219.<br>This dissertation examines the value of feminist film theory for the analysis of representations of women in visual media, and the potential of media education for establishing a culture of critical viewing. Feminist film theory is thus critically considered, as are associated debates within feminism on the reproduction by media institutions of categories of gendered identity implicated in violence against women. At attempt is made to synthesise key insights offered by sociological debates within feminism (Segal, Vance and Riley), feminist film theory (Mulvey an
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Neal, Madelyn Grace. "Feminist Reclamations of the Patriarchal Representation of Linear Time in Film and Literature." Miami University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=miami1624466870121231.

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