This thesis examines the unequal employment opportunity that women and people of color face in the American film and television industry and the rhetoric of meritocracy that justifies the marginalization of racial and gender minorities in Hollywood workplace. I argue that the sanitized language of meritocracy obscures racist and sexist practice with box office numbers and assessments of competency by White and male decision makers. Using historical records of Hollywood, I begin deconstructing the racist and sexist roots of the industry. Supplemented by quantitative research cross-referencing box office performance and worker diversity, this thesis debunks the myth of meritocracy which the industry still perpetuates today. In addition, the thesis explores brand image and award shows as forces of change to Hollywood’s inclusivity in a neoliberal ecopolitical landscape.

The advances in music technology and cinematography in recent years has granted a higher level of importance to the film music. There exists a gap in the academic study of film music as it relates to music technology, as no appropriate methodology exists that can accurately measure the contribution that music technology makes towards the music as it exists in film. This study aims to contribute towards existing methodologies for analysing film music, but from the perspective of music technology, and more specifically how audio processing in the domains of dynamic, spectral, spatial and temporal processing contribute towards the music in the film. This is achieved by building on the proposed methodologies of the study of film music as proposed by Kassabian (2009) and Altman (2000). This new method can be utilized to create a reference list of contributions that audio processing can make towards the soundtrack of a film by isolating the particular contribution that every moment of music is contributing to the film, and then finding how audio processing adds to this. / Mini Dissertation (MMus)--University of Pretoria, 2017. / Music / MMus / Unrestricted

Thesis submitted 1967; degree awarded 1968. Thesis (M.S.)--Boston University, 1968. / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / This thesis is a study of the development of documentary films in Jamaica from 1938 - 1966, what has been accomplished, and how it has been achieved, as well as a critical analysis of the present situation and recommendations for improvements. The study should be of value to the country as it is the first that has been attempted in this particular field, and one of the few to be attempted by a Jamaican in the many areas of the country's development. [excerpt from Introduction]

In the late 20th century, the global economy experienced a radical shift due to widespread deregulation and, subsequently, rapid financialization. Examining archival and contemporary trade magazines and corporate reports, this project considers the interconnections between television audience constructions/ratings and financial institutions amid these structural changes. In chapter one, this thesis starts by charting the pre-history of media financialization and financial stakeholders’ early influence over the radio industry and its antecedent industries (i.e., the telegraph and telephone) between 1800 and 1943. After charting a historical overview of media industries’ relationships to Wall Street, the second chapter details the financialization of the American Broadcasting Company (ABC) between 1943 and 1970 and considers the correlation between Nielsen ratings and stock prices. In the third chapter, these theories are brought into the 21st century, examining how media companies like Disney “pitch” their audiences to Wall Street and how financial incentives have led streaming platforms to engage in performative social justice in order to cater to upscale white audiences.

The film industry in Mainland China has grown rapidly in the 2010s, and in particular, local crime films have emerged over the past decade as a unique cinematic phenomenon that epitomizes China’s political and cultural system and social realities. As little is known about this phenomenon in the West, this thesis would provide a comprehensive review of the history of Chinese crime cinema, with a focus on the development and characteristics of the genre in the 2010s. The introduction defines the object and scope of the study, and briefly introduce the context of the Chinese film industry. The first chapter outlines the different forms of crime films in Mainland China before the 2010s, the strict content censorship in China, and the impact of Hong Kong and Korean films on Mainland Chinese cinema. The second and third chapter reviews selected Chinese crime films released from 2011 to 2020, and interpret in detail the influential ones. The conclusion summarizes the overall trends, commonalities and current status of Chinese crime cinema.

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In 1991, India entered the global market as a liberalized economy when, coerced by the International Monetary Fund, it adopted “structural adjustment” policies. The early period of economic liberalization in India engendered a sense of optimism and forward-looking aspiration in the national imaginary and culture. This faith in novelty and change, for the urban middle-classes, was a result of the increase in incomes in white-collar jobs and the availability of greater choices in the commodity market for consumers. Thirty years later, the fantasy of wealth and abundance that was supposed to transform the country into a thriving superpower is visibly cracking. Social reality has not kept up with the promises afforded by economic liberalization. The increasing wealth gap and the dangerous marriage between neoliberalism and right-wing politics has created public culture of everyday violence, divisiveness, and despair. In this dissertation, I examine how recent mainstream Hindi cinema has responded to India's neoliberal turn. My work is based on the premise that the cinema of the past two decades is a record of social history. The major themes I focus on are the pervasiveness of neoliberal values into everyday life and work and the consequent formation of a neoliberal subjectivity. I also focus on how forms of neoliberal selfhood contend with existing social structures of caste, class, sexuality and religious identity in India. Finally, I lay out the interconnections between the recent rise of Hindu fundamentalism in India, popular cinema and neoliberal culture.