Log in

Relevant bibliographies by topics / Race awareness in motion pictures / Dissertations / Theses

To see the other types of publications on this topic, follow the link: Race awareness in motion pictures.

Dissertations / Theses on the topic 'Race awareness in motion pictures'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 34 dissertations / theses for your research on the topic 'Race awareness in motion pictures.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.

1

Larrieux, Stephanie F. "Racing the future: Hollywood science fiction film narratives of race." View abstract/electronic edition; access limited to Brown University users, 2008. 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:3319100.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Lewis, Alanna. "The political and educational implications of gender, class and race in Hollywood film : holding out for a female hero." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21233.

Full text

Abstract:

This thesis examines the articulations of gender, class, and race in a specific sample of films from the 1930's to the 1990's. The tendency in these films is to depict women as passive, rather than heroic. Because this has been the common practice, I chose to outline it through fourteen films that exemplified an inherent bias when dealing with women as subject matter. Brief summaries of several recently produced progressive films are provided to show that it is possible to improve the image of women in film, hence we may finally witness justice on the big screen.
In this discursive analysis, I trace specific themes from the feminist and film literature to provide a critical overview of the chosen films, with a view to establishing educational possibilities for the complex issues dealt with in this study.

APA, Harvard, Vancouver, ISO, and other styles

3

Liu, Zhan. "Communicating race and culture in media appropriating the Asian in American martial arts films /." Pullman, Wash. : Washington State University, 2008. http://www.dissertations.wsu.edu/Thesis/Fall2008/l_zhan_091108.pdf.

Full text

Abstract:

Thesis (M.A. in communication)--Washington State University, December 2008.
Title from PDF title page (viewed on Dec. 31, 2008). "Edward R. Murrow College of Communication." Includes bibliographical references (p. 72-85).

APA, Harvard, Vancouver, ISO, and other styles

4

Fyvie, Erica Gwen. "The myths of the American dream interracial and inter-ethnic relationships in Hollywood films /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0016/MQ56174.pdf.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Copsey, Dickon. "Race, gender and nation : the cultural construction of identity within 1990s German cinema." Thesis, University of Glasgow, 2004. http://theses.gla.ac.uk/1927/.

Full text

Abstract:

This study offers a cultural studies reading of race, gender and nation as represented in three thematic sub-genres of contemporary German film production. The aim of this study is to demonstrate that each of these thematic sub-genres offers a unique insight into the cultural construction of a distinct, yet problematic and porous umbrella identity enjoying a particular cultural currency in post-Wall Germany. It should be noted that, in this respect, this study represents a move away from these traditional diachronic analyses of German film, which attempt a snapshot of an entire history filmic production, towards a more clearly delineated, synchronic analysis of a single contemporary moment – namely, the 1990s. The first of these thematic sub-genres concerns the ambiguous romantic narratives of the sexually autonomous yet avowedly post-feminist New German Comedy women. As a significant sub-genre of the popular New German Comedy film of the early 1990s, these films embody a clear structural reliance on the narrative norms of a classic, mainstream cinema. In contrast, the cinematic representations East(ern) Germany, past and present, incorporate a myriad of generic forms and registers in their explorations of the meaning of reunification for eastern German populations, from up-beat comic road movies to psycho-allegorical tales of internal disquiet. The third area of this study concerns itself with the representation of Turkish-German populations in 1990s German cinema. As eclectic as the cinematic representations of the East, the work of these Turkish-German filmmakers appears to offer a troubling cinematic trajectory from abused and exploited first generation Gastarbeiter to self-assured and recalcitrant street-tough Kanaksta.

APA, Harvard, Vancouver, ISO, and other styles

6

Slack, Neil Graham. "A cinema of white masculine crisis : race and gender in contemporary British film." Thesis, University of Sussex, 2010. http://sro.sussex.ac.uk/id/eprint/2380/.

Full text

Abstract:

The focus of this thesis is contemporary British cinema. Specifically, the emergence of a representational trend within its texts that has resulted in a disproportionate number of films whose protagonists are white, male, and who are in some way, beset by crisis. Two categories of identity are thus explored in this thesis, each of which possesses its own register of meaning, each of which requires (or seems to require) a particular approach in terms of the way that it is represented in film. These two categories are race and gender. In every sense then, this thesis seeks to take part in the dialogue which since the late eighties and particularly during the 1990's, has formed around the idea that contemporary white masculinity is in crisis, and has sought to provide evidence both for and against that idea in the texts of contemporary popular culture. What this thesis aims to add to that dialogue, however, is a greater awareness of the way in which race functions in society and in cultural representations, as well as a better understanding of the extent to which its influence is discernible in the texts of contemporary British cinema alongside the trend towards portrayals of white masculine crisis. Employing a cultural studies trajectory throughout, this thesis draws on areas of whiteness and race theory, masculinity studies, film theory, culture and media studies, plus theories of representation, in presenting its arguments, and uses the tools of close textual analysis during the film readings that are its single largest element. Special emphasis is placed on situating both the arguments put forward and the films discussed in their appropriate cultural context, and the thesis frequently looks for parallels outside cinema as a means of illustrating key ideas. Ultimately, this thesis aims to increase the balance of the discussion on the subject of white masculine crisis by highlighting the first term in the phrase, and to better the understanding of contemporary British cinema in the process.

APA, Harvard, Vancouver, ISO, and other styles

7

Chua, Ling-Yen. "Deviant intersections : interrogating discourses of race, sexuality and non-white homosexuality in contemporary films." Thesis, University of Warwick, 1998. http://wrap.warwick.ac.uk/108332/.

Full text

Abstract:

This thesis attempts to provide a critical framework for discussion of English language films featuring non-white homosexual characters and contribute to the on-going debate concerning the cinematic representation of racial and sexual minorities. It does not attempt to offer an exhaustive account of the field. Emphasis is placed on why there have previously been few films containing non-white homosexual characters and why there are now more such films, as well as identifying the way in which these characters are depicted. The study begins by examining the intimate relationship between Western construction of racial and sexual discourses. Through analysing several contemporary films and reviewing critical literature from the fields of post-colonial and “race” criticism, lesbian, gay and gender studies, I argue that (white) homosexuals and non-white people have often been depicted as analogous, although not identical, in sexual “perversity”. I further suggest that they are depicted as similarly deviant because of the reproductive threat that they pose to the white heterosexual norm. The homosexual actions of nonwhites, (who have historically been stereotyped as “naturally” sexually deviant), are usually interpreted as an example of their loose morality, rather than as an indication of non-heterosexual identity. By contrast, white subjects who engage in homosexual practises are usually accorded a lesbian or gay identity. I argue that the recent increase in the number of films containing non-white homosexual characters reflects the influence of “politically correct” discourses and theories of “hybridity”. I further suggest that the crossover success of a number of these films indicate that traditional stereotypes of race and sexuality are now called into question.

APA, Harvard, Vancouver, ISO, and other styles

8

Warren, Naomi Irene. "The politics of representation : a rhetorical analysis of Spike Lee's films, 1986-1998 /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/fullcit?p9959605.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Gunckel, Colin. ""A theater worthy of our race" the exhibition and reception of Spanish language film in Los Angeles, 1911-1942 /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1997008061&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Sim, Gerald Sianghwa. "The race with class towards a materialist methodology for race in film studies /." Diss., University of Iowa, 2007. http://ir.uiowa.edu/etd/187.

Full text

APA, Harvard, Vancouver, ISO, and other styles

11

Cunningham, D. M. "The ' film' on whiteness : depicting white trash in U.S. film, 1972-2002 /." View thesis, 2004. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20041210.111324/index.html.

Full text

APA, Harvard, Vancouver, ISO, and other styles

12

Sanchez, Tani Dianca. "Race and the Matrix Movie Trilogy." Diss., The University of Arizona, 2006. http://hdl.handle.net/10150/215411.

Full text

Abstract:

Using a close textual and contextual analysis, I trace themes of gender and race in the Matrix trilogy, arguing for the presence of a parallel, embedded filmic narrative, one that neatly aligns with African-American critical traditions affirming subjugated ideologies, knowledges, communities and forms. Decoding the films through the lenses of race, womanist, film studies and cultural studies theories, I explore this signified, covert storyline through phenotypes, casting choices, plot twists, and extra filmic events. In this dissertation project, I argue that their preponderance, consistency, and coherence are evidence of deliberate commentary. I further claim that that the trilogy can be reasonably understood as a historically motivated critique of Whiteness and White supremacy, offering references to American slavery and ideologies, as well as to cross-racial ideological domination and collective, coalitional and revolutionary change. Since long standing racial and gender understandings (along with their attendant domination and oppression) persist, examining popular films with transformed constructions is useful in supporting frameworks for conceptual change.

APA, Harvard, Vancouver, ISO, and other styles

13

Bernardi, Daniel. "Star trek and history : race-ing toward a white future /." New Brunswick, NJ [u.a.] : Rutgers University Press, 1999. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=018615232&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

Full text

APA, Harvard, Vancouver, ISO, and other styles

14

Connelly, Daniel R. "White screen, black masks : Othello and the performativity of race on stage and screen." Thesis, University of St Andrews, 2003. http://hdl.handle.net/10023/14709.

Full text

Abstract:

This thesis attempts to expose stereotypologies of black African skin as performed on the Shakespearean stage and before the Shakespearean camera. My research engages with a number of Tudor/Stuart travel narratives and plays containing imperialistic denigrations of Negritude. To accompany these early revelations of the 'unknown' black Other, I effect a close performative and historical consideration of Shakespeare's Othello (1602). By critiquing the repetitive containment of the character of Othello, the Moor, by successive theatrical ideologies, I work towards a full analysis of his twentieth-century representation on film. Here, through positioning myself within contextual, postcolonial, and methodological discourses surrounding representations of Othello by Orson Welles (1952), Stuart Burge (1965), and five other directors from 1981 to the present day, I confirm and analyse the politicisation of both genuine and masked blackness. In asserting that Welles's ninety-minute statement is powerfully emancipated from white ideological constraint, I nonetheless conclude that the Elizabethan and Jacobean tropes employed in dramatic formulations of black skin retain powerful visual significance within the contemporary film industries that interpret Shakespeare's Moor of Venice.

APA, Harvard, Vancouver, ISO, and other styles

15

Khor, Denise. "Asian Americans at the movies race, labor, and migration in the Transpacific West, 1900-1945 /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3291752.

Full text

Abstract:

Thesis (Ph. D.)--University of California, San Diego, 2008.
Title from first page of PDF file (viewed March 17, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 297-213).

APA, Harvard, Vancouver, ISO, and other styles

16

Ndounou, Monica White. "The color of Hollywood the cultural politics controlling the production of African American original screenplays, stage plays and novels adapted into films from 1980 to 2000 /." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1180535612.

Full text

APA, Harvard, Vancouver, ISO, and other styles

17

Edison, Alicia. "The Impact of the Media on Biracial Identity Formation." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc5185/.

Full text

Abstract:

Biracial individuals undergo a developmental process that is different than monoracial individuals. Not only do they have to develop a strong and cohesive self-esteem, but also develop a strong and cohesive racial identity to have a healthy self-concept. The media is a social structure that has infiltrated into many aspects of American lives, including their racial identity. The media perpetuates current beliefs concerning race and racial identity. This research investigates how biracial identity has been portrayed in the media. Historically, biracial individuals have been portrayed as the tragic "mulatto" because of their confused racial background. In addition, mulatto women have been stereotyped as exotic and sexual objects. A content analysis was used to investigate how the media presents biracial identity. Only movies with black/white biracial individuals were watched. The categories under study included perceived race, character's race, skin color, likeability, sex appeal, ability to contribute, ability to be violent, mental health, overall positive portrayal social, and negative portrayal score. This study may suggest that the media is making attempts to rectify old stereotypes. Overall, this study does demonstrate that the media portrays biracial and black characters differently in film. One overarching theme from these results implies that the perception of race is more salient than one's actual race.

APA, Harvard, Vancouver, ISO, and other styles

18

Burns, Ruth Barbara. "Reading race in Western Christian visual culture : tracing a delirium from Renaissance art to the Chris Ofili affair and contemporary religious cinema." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98915.

Full text

Abstract:

This thesis examines the role of the Manichean dualism, the pervasive colour symbolism of white as good and black as evil. It looks at the manifestation of this symbolism in representations of Christianity, and the subsequent implications for race and racism in Western society. Through images of Jesus Christ and the Virgin Mary, I posit that the Western conflation of holiness with whiteness is a primary means through which whiteness retains hegemony. I argue that Renaissance painting has had a pivotal role in privileging the white body through its hyper-whitening of both Jesus and Mary. Both figures emerge as improbable ideals of male and female whiteness, demonstrating the anxiety around the intersection of race, gender and religion. I am primarily interested in Mary and how the canon of Western art has didactically laid out the terms of her representation as a means of controlling the female body, dependant on the disavowal and whitening of her body. The privileging of religious Renaissance art results in the continued infection of the construction and reception of the Virgin's image as an ideal figure of feminine whiteness. As such, I analyze the lasting effects of the whitening of her image in the controversy surrounding the display of Chris Ofili's The Holy Virgin Mary (1996) at the Brooklyn Museum of Art, as well as her representation in Hail Mary (1985) and The Passion of the Christ (2004). These readings attempt to draw out the specious nature of the Manichean dualism of black and white, aiming to help in the creation of a space for alternative readings of race through the eyes of hegemonic society.

APA, Harvard, Vancouver, ISO, and other styles

19

Young, Kelcei. "And the Stereotype Award Goes to...: A Comparative Analysis of Directors using African American Stereotypes in Film." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609173/.

Full text

Abstract:

This study examines African American stereotypes in film. I studied six directors, Kathryn Bigelow, Spike Lee, the Russo Brothers, Ryan Coogler, Tate Taylor, and Dee Rees; and six films Detroit, BlacKkKlansman, Captain America: The Winter Soldier, The Help, and Mudbound. Using the framework of critical race theory and auteur theory, I compared the common themes between the films and directors. The main purpose of my study is to see if White or Black directors predominantly used African American stereotypes. I found that both races of directors rely on stereotypes for different purposes. With Black directors, the stereotype was explained further through character development, while the White directors used the stereotype at face value with no further explanation.

APA, Harvard, Vancouver, ISO, and other styles

20

Burger, Alissa Dian. "From 'The Wizard of Oz' to 'Wicked': Trajectory of American Myth." Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1236369185.

Full text

APA, Harvard, Vancouver, ISO, and other styles

21

Ferreira, Mário Cézar Alves. "Ensinando história: produção de uma sequência didática sobre as representações do negro no Brasil." Universidade Tecnológica Federal do Paraná, 2015. http://repositorio.utfpr.edu.br/jspui/handle/1/1392.

Full text

Abstract:

Acompanha: Ensinando história: produção de uma sequência didática sobre as representações do negro no Brasil
Este trabalho tem como objetivo principal apresentar a produção e a aplicação de uma sequência didática como produto educacional, para a apropriação do conhecimento de professores e de estudantes sobre as relações étnico-raciais no Brasil, no ensino de História. Os conceitos de representação, apropriação e práticas culturais da Nova História balizaram a construção deste objeto de análise. No que diz respeito às representações do negro, buscou-se, durante a aplicação do produto educacional, discutir as teorias raciais, construídas no século XIX, a fim de identificar mudanças e permanências dessas representações nos dias atuais. Buscou-se, também, discutir o processo de exclusão social dos ex-escravos, que gerou implicações para os afro-brasileiros, a fim de esclarecer as causas da pobreza que afeta mais a negros do que a brancos. Para tanto, os alunos analisaram e discutiram as representações do negro no cinema nacional, com base em filmes realizados em diferentes períodos da História do Brasil, buscando superar as visões estereotipadas e discriminatórias dessas representações. A pesquisa foi realizada em uma escola pública de Londrina/Paraná, com uma turma de trinta e cinco estudantes do terceiro ano do ensino médio. De natureza qualitativa, nesta pesquisa-ação, os dados foram coletados mediante atividades escritas, orais e por meio de videogravação das aulas. Para a elaboração dos planos de aula que compuseram a sequência didática, foram selecionados como documentos o quadro Redenção de Cã (1895), a música A favela vai abaixo (1928) e quatro filmes, sendo eles: O Despertar da Redentora (1942), um trecho de Orfeu do Carnaval (1959), um trecho de Rio Babilônia (1982) e o filme Besouro (2009). Antes da elaboração dos planos de aula, foi necessário revisar a literatura sobre as especificidades linguísticas desses documentos, para a elaboração do material didático em questão. A preparação dos planos de aula partiu do seguinte problema: como as sequências didáticas de História, desenvolvidas com base em diferentes linguagens, podem contribuir para a desconstrução do preconceito racial no ambiente escolar? O fulcro das atividades, portanto, foi desvelar as origens do racismo e as estereotipias sobre o negro, aprimorar o olhar crítico dos estudantes sobre os discursos fílmicos e promover a discussão e a leitura histórico-social da contribuição dos negros para a cultura brasileira. Os resultados da pesquisa permitiram observar o quanto é produtivo para a aprendizagem trabalhar de forma problematizada e com diferentes fontes, estabelecendo uma relação entre presente e passado. Os estudantes puderam identificar as permanências de teorias racistas, construídas ontem, nos dias atuais, estabeleceram relações entre a exclusão social dos escravos e as causas da pobreza no Brasil. Foram também capazes de identificar, de modo geral, os arquétipos pelos quais o negro é representado no cinema nacional, identificando também uma valorização da apresentação do negro e da sua cultura no filme Besouro.
This work aims to present the production and application of a didactic sequence as educational product for knowledge appropriation of both teachers and students on ethnic-racial relations in Brazil, happening while teaching History. The concepts of representation, appropriation and cultural practices of the New History were used as guidelines for the construction of this analysis. With regard to the issue about the representations of black people, it was sought, during the implementation of the educational product, to discuss the racial theories built in the nineteenth century in order to identify changes and continuities of these representations nowadays, as well as the social exclusion process of former slaves and its implications for Afro-Brazilians today, in order to clarify the causes of poverty that affects more black than white people; analyzing and discussing the representations of black people in the Brazilian cinema from films made in different periods of the Brazilian History, seeking to overcome the stereotypical and discriminatory views of these representations. The research was conducted in a public school in Londrina / Paraná, with a group of thirty-five students of the third year of high school. Being of qualitative nature, in this action-research data were collected through written and oral activities and video recording of classes. For the elaboration of the lesson plans that composed the didactic sequence, the painting Redenção de Cã (1895), the song “A favela vai abaixo” (1928) and four movies, namely: “O Despertar da Redentora” (1942), a section of “Orfeu do Carnaval” (1959), and “Rio Babilônia” (1982) and the movie “Besouro” (2009) were selected. Before the elaboration of the lesson plans, it was necessary to review the literature on linguistic specificities of these documents, to the elaboration of involved didactic material. The elaboration of the lesson plans came up from the following issue: How can didactic sequences of history, developed from different languages, contribute to the deconstruction of racial prejudice in school environment? The focus of activities was therefore uncovering the origins of racism and stereotypes about black people, improving the critical view of the students about the filmic discourse and promoting discussion and the socio-historical reading of black people´s contribution to Brazilian culture. The results of the research allowed observing how productive the work with different sources by a problematizing way is to the learning process, establishing a relationship between present and past. So, the students were able to identify permanence of racist theories built yesterday, nowadays. They established relationships between social exclusion of slaves and the causes of poverty in Brazil; and they were able to identify, in general, the archetypes by which black people are placed in the national cinema, also identifying an appreciation of the representation of black people and their culture in the movie Beetle.

APA, Harvard, Vancouver, ISO, and other styles

22

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

23

Crum, Melissa Renee. "THE CREATION OF BLACK CHARACTER FORMULAS: A CRITICAL EXAMINATION OF STEREOTYPICAL ANTHROPOMORPHIC DEPICTIONS AND THEIR ROLE IN MAINTAINING WHITENESS." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1268255174.

Full text

APA, Harvard, Vancouver, ISO, and other styles

24

Linscott, Charles P. "Sonic Overlook: Blackness between Sound and Image." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1438950059.

Full text

APA, Harvard, Vancouver, ISO, and other styles

25

Remse, Christian. "Vodou and the U.S. Counterculture." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1368710585.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

Cunningham, Daniel, University of Western Sydney, of Arts Education and Social Sciences College, and School of Humanities. "The 'film' on whiteness : depicting white trash in U.S. film, 1972-2002." 2004. http://handle.uws.edu.au:8081/1959.7/24591.

Full text

Abstract:

This thesis examines various aspects of whiteness and white trash as it relates to films made between 1972 and 2002. Key to this discussion are the concepts of race and class because whiteness invokes race, and trash invokes class. How is white trash represented in cinema? To begin answering this question, one must call into question a conceptual framework of 'privileged whiteness' because when upper-middle-class whiteness is forced to recognise itself, a crisis occurs whereby whiteness can become trashed. This thesis argues from the outset that little distance exists between privileged whiteness and white trash because this ongoing 'crisis' maintains a proximity between both terms. The sopmetimes difficult relationship between privileged whiteness and white trash is explored in filmic case studies. A discussion of white trash must go beyond race and class, because place, age and sexuality also play a large part in making sense of the way white trash functions on screen. The second half of the work identifies specific modes of cinematic white trash production. These are camp white trash and queer white trash. In the former, the films of John Waters are discussed within a framework of 'camp/trash aesthetics'. The latter looks at queer white trash through a detailed analysis of the 1990's New Queer Cinema. Lastly, this thesis argues that the films discussed contribute to a concept of White Trash Cinema.
Doctor of Philosophy (PhD)

APA, Harvard, Vancouver, ISO, and other styles

27

Kgongoane, Obakeng Omolem. "Confronting Schuster race-to-face: post-apartheid blackface in Mama Jack." Thesis, 2017. https://hdl.handle.net/10539/24475.

Full text

Abstract:

A research report submitted to the faculty of Humanities, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for the degree of Master of Arts, Wits University, Johannesburg, 2017
In blackface colonial history, “amusing” white blackface performances that depicted black people as the “natural born fool” were popular with white audiences during a time when whites perceived their racial superiority to be threatened. In Post-1994 South Africa, white supremacy is no longer an uncontested “fact”. As a result, white identities that are premised on “old” legislated notions of racial superiority are made insecure by perceived threats posed against whiteness. The previously disenfranchised and excluded black is now the central focus of South African power and politics and the loss of white centrality creates the “victim” perception that all post-apartheid societal pressures and changes are put on, and against whites. Their power has been “confiscated” and thereby no longer unique to white identity. Blackface is utilised by Leon Schuster in the post-apartheid film, Mama Jack (2005) to reproduce old ideologies of whiteness that remind viewers of its presence, privilege and power. As in the colonial past, it is through the principle white character Jack Theron and his mobilisation of blackface that white supremacy remains intact throughout the film.
XL2018

APA, Harvard, Vancouver, ISO, and other styles

28

Walker, Susan M. "An explanatory analysis of relationships between personality constructs, anxiety, racial identity, and reactions to an experiental learning tool about race relations /." Diss., 2004. 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:3154574.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

Childress, Sarah Louise. "Presence in absence D.W. Griffith's patriarchal paradise in His trust and His trust fulfilled /." Diss., 2005. http://etd.library.vanderbilt.edu/ETD-db/available/etd-07152005-075459/.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Cunningham, Daniel. "The 'film' on whiteness : depicting white trash in U.S. film, 1972-2002." Thesis, 2004. http://handle.uws.edu.au:8081/1959.7/24591.

Full text

Abstract:

This thesis examines various aspects of whiteness and white trash as it relates to films made between 1972 and 2002. Key to this discussion are the concepts of race and class because whiteness invokes race, and trash invokes class. How is white trash represented in cinema? To begin answering this question, one must call into question a conceptual framework of 'privileged whiteness' because when upper-middle-class whiteness is forced to recognise itself, a crisis occurs whereby whiteness can become trashed. This thesis argues from the outset that little distance exists between privileged whiteness and white trash because this ongoing 'crisis' maintains a proximity between both terms. The sopmetimes difficult relationship between privileged whiteness and white trash is explored in filmic case studies. A discussion of white trash must go beyond race and class, because place, age and sexuality also play a large part in making sense of the way white trash functions on screen. The second half of the work identifies specific modes of cinematic white trash production. These are camp white trash and queer white trash. In the former, the films of John Waters are discussed within a framework of 'camp/trash aesthetics'. The latter looks at queer white trash through a detailed analysis of the 1990's New Queer Cinema. Lastly, this thesis argues that the films discussed contribute to a concept of White Trash Cinema.

APA, Harvard, Vancouver, ISO, and other styles

31

McEwen, Melissa. ""When I was young..." - the sixties in the Reagan era : how the present impacts on representations of the past." Phd thesis, 2009. http://hdl.handle.net/1885/150238.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

Park, Chi Hyun. "Orientalism in U.S. cyberpunk cinema from Blade runner to the Matrix." Thesis, 2004. http://hdl.handle.net/2152/2159.

Full text

APA, Harvard, Vancouver, ISO, and other styles

33

Shabangu, Lorraine. "Representations of blackness in post-1994 black-centred films: an analysis of Conversations on a Sunday afternoon (2005), When we were black (2007) and State violence (2011)." Thesis, 2016. http://hdl.handle.net/10539/19384.

Full text

Abstract:

A thesis submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for the degree of Master of Arts in African Languages. Wits University, Johannesburg, 2015
This report interrogates the representation of blackness in post-1994 black-centred films in South Africa. With a particular focus on Khalo Matabane’s films, I analyse Conversations on a Sunday Afternoon (2005), When We Were Black (2007) and State of Violence (2011) across a spectrum of themes. I also interrogate and introduce several critical concepts such as ‘blackness’, ‘the image of blackness’, ‘black identity’, ‘masculinity’, ‘femininity’, ‘the Gaze’ and ‘Otherness’. These concepts are interlinked in ways that bring about an understanding of the concept of black-centred films, which is central to the research report. Amidst the different interpretations of black-centred films, the vantage point from which the concept is used is interested in black-centred films as films that are made by a black filmmaker, whose content addresses issues of blackness and is targeted at a black audience. However, these three factors need not always resonate in a single film in order for it to be considered and analysed as a black-centred film. The lens through which Matabane holds the camera questions his representation of the black image and whether it is from an insider or outsider’s perspective. The view from which Matabane holds the camera is important in establishing whether he has purported to represent historically stereotypical images of blackness, or whether his endeavours in filmmaking are occupied by the relentless pursuit to present new images of blackness.

APA, Harvard, Vancouver, ISO, and other styles

34

Ovbiebo, Osaigbovo Matthew. "Film : a supplementary aid in teaching adults about HIV/AIDS in Igueben (Nigeria)." Thesis, 2012. http://hdl.handle.net/10500/8743.

Full text

Abstract:

This study explored film as a supplementary aid in teaching adults about HIV/AIDS in the Igueben area of Edo State (Nigeria). It drew on the theory and practice of film to enhance the awareness of HIV/AIDS campaign strategies in ways that are not possible with other teaching aids. The findings of the study supported the literature, which indicates that unlike film,reading materials are not accessible to illiterate adults in rural communities. Two hundred (200) participants were used in the first approach (quantitative), while fifteen (15) illiterate adults were purposively selected from the area to participate in the second approach (qualitative). The research was undertaken within an interpretivist framwork in the sense that it was a communal process informed by participating illiterate adults, and was sensitive to the role of context (Alvermann, D.E., & Mallozzi, C.A. 2010). The study confirmed the role of film, particularly Nigerian movies, in promoting information and education on HIV/AIDS. The findings highlighted the need for on-going education about HIV/AIDS and its treatment, especially among the rural illiterate. The study, in summary established that the programmes offered by HIV/AIDS organisers (governmental and nongovernmental) would be more effective if film is included in the campaign against the disease.
Curriculum and Instructional Studies
D. Ed. (Didactics)

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!