I was an intern with the Foundation from January 2003 to October 2003. During this period, I assisted with the preparation and presentation of three major events produced by the Foundation: the Tribute to the Classical Arts, the Big Easy Entertainment Awards, and Reds, Whites, and the Blues. I also observed the organization's inner workings. Included in this report, is the documentation and the contributions of my internship, and the history, programs, organizational management structure, and challenges faced by the Foundation. This report concludes with comprehensive list of suggestions for the Foundation.

This paper presents an examination of the use of urban entertainment centers as a catalyst for downtown revitalization. To provide context, the examination begins with an overview of the history of downtown in America, the reasons for its decline, and past attempts at renewal and revitalization. The discussion of urban entertainment centers includes a definition of the trend and the issues surrounding their use and success or failure. Two cities, Baltimore and Denver, are presented as examples of the urban entertainment center trend in America. / Master of Urban and Regional Planning

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Notions such as transference, movement, transit and mobility have become fundamental to understand the mechanisms that rule the circulation, reception and production of contemporary cultural artifacts. In spite of the growing scholarship on the topic, very little attention has been given to a particular cultural arena: the realm of contemporary entertainment. By contemporary entertainment, I refer to a set of industrial products which are especially directed to urban young audiences: cartoons, comic books, computer games, blockbuster movies, theme park attractions, etc. This thesis argues that the realm of contemporary entertainment is marked by the presence of intense mobility, by movement and acceleration on at least two levels. First, movies (The Matrix, City of God, Run Lola Run, etc.), TV programs (the so-called “MTV aesthetics”), computer games (Doom or games based on blockbusters) and even cartoons for children (Spongebob, Pokémon, etc.) present frantic editing and engage the audiences’ senses through moving images in a vertiginous “bombardment” of signs – a phenomenon I will call kinesthesics. Second, the production and reception of these cultural objects take place in a highly intermedial environment: computer games become feature movies (Tom Raider, Resident Evil), comic books become feature movies (Sin City, Spiderman, etc.) feature movies become theme park attractions (Jurassic Park), theme park attractions become feature movies (Pirates of the Caribbean) and so on. This thesis shows how these two basic mobile characteristics play a determinant role in the complex economic, technologic and aisthesic rationale that drives the contemporary entertainment industry. i The investigation of these basic traits suggests the existence of mobility paradigms that help us better understand not only products like the ones mentioned above, but also disparate cultural artifacts such as the Brazilian aparelhagem – a traveling technological paraphernalia that brings musical entertainment to poor audiences in the Brazilian Amazon Region. Aparelhagens present an intricate blending of physical displacement, media mobility, visual spectacle and musical frenzy. This successful combination propels a popular and powerful entertainment industry in Northern Brazil known as tecnobrega. By analyzing the phenomenon and comparing it to global entertainment products, the thesis discloses aisthesic patterns that cross social, economic and cultural boundaries.

Notions such as transference, movement, transit and mobility have become fundamental to understand the mechanisms that rule the circulation, reception and production of contemporary cultural artifacts. In spite of the growing scholarship on the topic, very little attention has been given to a particular cultural arena: the realm of contemporary entertainment. By contemporary entertainment, I refer to a set of industrial products which are especially directed to urban young audiences: cartoons, comic books, computer games, blockbuster movies, theme park attractions, etc. This thesis argues that the realm of contemporary entertainment is marked by the presence of intense mobility, by movement and acceleration on at least two levels. First, movies (The Matrix, City of God, Run Lola Run, etc.), TV programs (the so-called “MTV aesthetics”), computer games (Doom or games based on blockbusters) and even cartoons for children (Spongebob, Pokémon, etc.) present frantic editing and engage the audiences’ senses through moving images in a vertiginous “bombardment” of signs – a phenomenon I will call kinesthesics. Second, the production and reception of these cultural objects take place in a highly intermedial environment: computer games become feature movies (Tom Raider, Resident Evil), comic books become feature movies (Sin City, Spiderman, etc.) feature movies become theme park attractions (Jurassic Park), theme park attractions become feature movies (Pirates of the Caribbean) and so on. This thesis shows how these two basic mobile characteristics play a determinant role in the complex economic, technologic and aisthesic rationale that drives the contemporary entertainment industry. i The investigation of these basic traits suggests the existence of mobility paradigms that help us better understand not only products like the ones mentioned above, but also disparate cultural artifacts such as the Brazilian aparelhagem – a traveling technological paraphernalia that brings musical entertainment to poor audiences in the Brazilian Amazon Region. Aparelhagens present an intricate blending of physical displacement, media mobility, visual spectacle and musical frenzy. This successful combination propels a popular and powerful entertainment industry in Northern Brazil known as tecnobrega. By analyzing the phenomenon and comparing it to global entertainment products, the thesis discloses aisthesic patterns that cross social, economic and cultural boundaries.

Notions such as transference, movement, transit and mobility have become fundamental to understand the mechanisms that rule the circulation, reception and production of contemporary cultural artifacts. In spite of the growing scholarship on the topic, very little attention has been given to a particular cultural arena: the realm of contemporary entertainment. By contemporary entertainment, I refer to a set of industrial products which are especially directed to urban young audiences: cartoons, comic books, computer games, blockbuster movies, theme park attractions, etc. This thesis argues that the realm of contemporary entertainment is marked by the presence of intense mobility, by movement and acceleration on at least two levels. First, movies (The Matrix, City of God, Run Lola Run, etc.), TV programs (the so-called “MTV aesthetics”), computer games (Doom or games based on blockbusters) and even cartoons for children (Spongebob, Pokémon, etc.) present frantic editing and engage the audiences’ senses through moving images in a vertiginous “bombardment” of signs – a phenomenon I will call kinesthesics. Second, the production and reception of these cultural objects take place in a highly intermedial environment: computer games become feature movies (Tom Raider, Resident Evil), comic books become feature movies (Sin City, Spiderman, etc.) feature movies become theme park attractions (Jurassic Park), theme park attractions become feature movies (Pirates of the Caribbean) and so on. This thesis shows how these two basic mobile characteristics play a determinant role in the complex economic, technologic and aisthesic rationale that drives the contemporary entertainment industry. i The investigation of these basic traits suggests the existence of mobility paradigms that help us better understand not only products like the ones mentioned above, but also disparate cultural artifacts such as the Brazilian aparelhagem – a traveling technological paraphernalia that brings musical entertainment to poor audiences in the Brazilian Amazon Region. Aparelhagens present an intricate blending of physical displacement, media mobility, visual spectacle and musical frenzy. This successful combination propels a popular and powerful entertainment industry in Northern Brazil known as tecnobrega. By analyzing the phenomenon and comparing it to global entertainment products, the thesis discloses aisthesic patterns that cross social, economic and cultural boundaries.

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Thesis (M.Des.)--York University, 2007. Graduate Programme in Fine Arts. / Typescript. Includes bibliographical references (leaves 43-48). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR29289

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