xiii, 429 p. : ill. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / My dissertation argues that the film comedies of Kevin Smith, through their willingness to depict and verbalize gender-bending, queer desire, and deviant sexual practices, exemplify the role independent "slacker" cinema played in the 1990s explosion of American queer media visibility. Couched in witty verbal comedy, Smith's films depict the tensions and dangers Generation-X males face as they negotiate the culturally enforced gap separating male homosociality (intense friendship, male bonding) from explicit male-male homoerotic desire in contemporary U.S. culture. The project takes Smith's career as a metonym for independent slacker cinema (which includes films by Smith, Richard Linklater, Jim Jarmusch, and Judd Apatow) and argues that Smith's films have been successful because they tap into and exploit both the 1990s boom in independent queer media production and the particular interests and needs of actual young white slackers, including how these young men navigate tensions related not only to gender and sexuality but also to race and class (all of which are evident in their taste for mainstream superhero comics and the Star Wars films). Chapter II argues that Smith's debut feature, Clerks (1994), exemplifies, through its plot and formal elements, the homosocial buddy relation that suppresses male-male homoerotic desire by channeling it into men's rivalries over women. The chapter exposes the misogyny inherent to the slacker's homosocial group and discusses his fear/fascination with masculine women such as domineering mothers, bossy girlfriends, and (in later Smith films) lesbians. Chapter III argues that Mallrats (1995) shares key narrative properties and subject matter with superhero comic books, thereby addressing the comic book fans who largely constitute Smith's fan base. Chapter IV offers a bisexual reading of Smith's third feature film, Chasing Amy (1997). Chapter V examines Smith's later films Dogma (1999), and Jay and Silent Bob Strike Back (2001), arguing that they function generically as queer road movies. Chapter VI analyzes Smith's public persona as an indie cinema icon who uses ironic, ambiguous modes of self-presentation to "have it both ways," maintaining an appeal for both homophobic and queer-friendly audiences, thereby demonstrating Smith's keen understanding of self-promotion and the economic structures of independent cinema. / Adviser: Kathleen Rowe Karlyn

xi, 180 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / Drawing upon theories from folkloristics, history, and audience studies, this thesis analyzes historical films, their reception, and the importance of history and film in everyday life. Using an interdisciplinary approach, I demonstrate how a folkloric perspective may contribute to and strengthen the study ofhistorical films by emphasizing the attributes of narrative and belief at the vernacular level of reception. With an ethnographic and qualitative focus on the informal, common, and everyday film viewing habits of specific individuals in relation to historical belief, this project provides empirical evidence that is necessary for a more accurate understanding of the function and reception of historical films. This study also re-examines the formal aspects of historical films in relation to historical re-construction, the definition and categorization of such films, their reception, their function beyond entertainment, and the need for an integration of new research in both audience studies and folklore studies. / Committee in Charge: Dr. Daniel Wojcik, Chair; Dr. Jeffrey Hanes; Dr. Bish Sen

xvii, 397 p. : ill., maps. / Thousands of films are produced every year in the United States, and only a fraction of these is made by mainstream Hollywood film studios. Independent filmmakers working in regional locations produce the majority of these films, retaining financial, creative and distribution control and working with locally-based cast and crew members. This film activity must be acknowledged in order to fully understand the American film industry. This study examines regional independent filmmaking through case studies of two film communities: Portland, Oregon and Seattle, Washington. Using political economy of communication as the primary theoretical foundation, this study focuses on the infrastructure (systems, policies, resources and practices) that supports and/or limits the production and distribution of independent films. The research utilizes extensive document analysis of historical materials and contemporary documents produced by organizations and individuals, as well as a survey of 60 film professionals and interviews with over 40 film professionals. A central challenge to independent filmmaking is the term "independent," which has been contested by film professionals and scholars; therefore, this study analyzes and offers a new definition of "independent filmmaking." The history of filmmaking activity in Portland and Seattle is presented, as well as an extensive discussion of the contemporary landscape of regional independent filmmaking in these two communities. The study finds that there are a multitude of contradictions pertaining to financing, distribution, labor and myths of independent filmmaking. These contradictions present a range of opportunities and challenges that often simultaneously conflict with each other. The filmmaking communities in Portland and Seattle have notable networks of support, including professional and educational organizations, film festivals, government initiatives and a few locally-operated distributors. However, filmmakers in both cities also share challenges in financing, distribution and labor. The study argues that regional independent filmmaking has made a dynamic and influential contribution to the American film industry and cultural production but has been under-explored in academic scholarship. The research also points to the need to examine and understand the contradictions of independent filmmaking to improve the circumstances and infrastructure that support regional independent filmmaking. / Committee in charge: Dr. Janet Wasko, Chairperson; Dr. Gabriela Martinez, Member; Dr. H. Leslie Steeves, Member; Dr. Michael Aronson, Outside Member

This thesis examines how the Spanish film legislation that was passed between 1982 and 2010 has shaped the production, circulation and reception of contemporary Spanish cinema. The study of film legislation is crucial to understanding how the cultural value of contemporary Spanish cinema is created since laws are the main instrument through which the Spanish state has established the funding policies directed towards the production of films. Owing to the weak nature of the Spanish production sector since its inception, and the lack of private investment, the Spanish state, and, since 1999, the public and private television companies, have been the major financial support for the production of films. Furthermore, film legislation itself defines the type of films that are considered to be worthy enough to receive state funding, and, therefore, the type of films promoted by the state to be nationally consumed and internationally exported. Consequently, it is essential to understand why and how the funding policies have been established, by whom, and towards the support of what type of films. My thesis' argues that film legislation should be regarded as the key instrument through which a state tries to regulate the national film industry. It is nonetheless necessary to point out that the Spanish case is more complex, since film legislation has also been mainly enacted to solve the Spanish film industry's endemic problems. More importantly, my thesis' main contention is that film legislation has to be regarded as the site in which the debate about the type of cinema wanted for the nation acquires its main expression. In order to critically address the political, economic and cultural functions of the different funding policies established between 1982 and 2010 my thesis is informed by Pierre Bourdieu's theory of cultural production; in particular, on his notions of field, capital and habitus as specifically stated in Distinction. A Social Critique of the Judgements of Taste ([1984] 2010) and The Rules of Art ([1996] 2012). Through this theoretical framework, my thesis argues that film legislation does not emerge in a vacuum because the laws respond to different demands from those involved in creating the cultural value of Spanish cinema: the policymakers in charge of the film policies, the film professionals, and, to a lesser extent, the key film critics. My thesis accounts for the ways in which the cultural value of these films has been created by locating and interrogating the main demands of the type of films regarded to be worthy of the state financial support and by pointing out who have raised them; secondly, it identifies whether those demands have been enshrined in the laws and it demonstrates the ways in which the interests of those involved in the creation of the cultural value of Spanish films have informed the funding policies set by the laws. Thirdly, it provides an understanding of how the key policymakers have acquired their ideas about cinema and how those ideas have been reflected in the laws. Finally, through four case studies, my thesis analyses the modes of cinematic production that those funding policies have led to and the types of films that they have fostered.

abstract: This experimental pretest-posttest design study extended the field of media literacy research to pre-professionals in the entertainment industry. Specifically, it investigated the effects of lecture, film screenings and focused discussions on media literacy general awareness, comprehension, critical thinking and attitudes about filmmakers' responsibility after a unit of instruction on media violence designed specifically for university film majors. Inherent in this process was an attempt to create a valid instrument for measuring media literacy awareness, comprehension, critical thinking and attitudes about social responsibilities among future media makers. Items were presented from the perspective of a creator of entertainment products. A demographic survey was used to collect data on past media literacy education and media viewing habits of this niche group, while evaluation data provided insights into the thought processes of students as they considered issues of media literacy -- sometimes for the first time -- in their own lives, in the lives of others, and in their future careers. Factorial analysis was used to test the effectiveness of the instrument. Analyses of variance were employed to measure pretest-posttest differences in treatment groups and Paired Samples T-tests to measure differences across the entire sample. Responses to open-ended evaluation questions were analyzed and coded and presented by item. Results showed positive changes in comprehension and filmmaker responsibility attitudes across treatment groups and significant positive differences in media awareness and critical thinking among students across treatment groups. Results did not align with treatment groups: the students who watched film clips and participated in focused discussions gained knowledge but did not achieve significantly greater mean scores than those who did not participate in these treatments. Findings support those in the research literature that holistic media literacy instruction, which incorporates aspects of creating as well as consuming entertainment products, can open new pathways of criticality about media issues. Media should be presented in context and with direction from the instructor. In eight evaluation items, some 90% of the young media makers agreed that the media violence lesson influenced their thinking and that they would consider material taught in this lesson when creating future media products. / Dissertation/Thesis / Doctoral Dissertation Educational Technology 2014

abstract: Due to its interdisciplinary nature, the history of emotions has engaged much scholarly interest. This project draws from the historical, sociological and philosophical research on emotions to analyze the representation of emotions in narratives from Argentina and Chile. This historical investigation posits that socio-political, cultural and economic forces, which are represented in literature and film, shape emotions and emotional standards. The analysis of Rayuela (1963) by Julio Cortázar and Raúl Ruiz’s Tres Tristes Tigres (1968) is centered on the impact of Existentialism, capitalism and modernity on the construction of emotional standards in urban societies. The impact of militant groups in the shaping of collective emotions in Latin America during the 1960s and 70s is examined in Reina Roffé’s novel Monte de Venus (1973) and Aldo Francia’s film Ya no basta con rezar (1972). The analysis of Alberto Fuguet’s Las películas de mi vida (2002) and Pablo Larraín’s No (2012) sheds light on the paradigmatic shift in the construction of emotional standards resulting from the implementation of neoliberalism through dictatorships as well as the insertion into the globalized consumerist culture by way of technology and media. Finally, this project encourages future research of the emotions in literary and cultural studies of Latin America. / Dissertation/Thesis / Doctoral Dissertation Spanish 2016

abstract: The connection between Hollywood costume design and the films of the 007/James Bond franchise, especially in regards to the changing perspective of the “Bond Girl”, is an intricate relationship that has previously been little researched. In the most recent Bond films, in particular, the female characters have become more powerful than the early characters and their roles within the narratives have changed with their characters taking on stronger and more integral roles. This thesis seeks to examine the films of the 007/James Bond franchise and how the rhetoric of the franchise’s costume design affects the representation of femininity and power in regards to the Bond Girls. After an overview of Bond history and costume theory, two films are analyzed as case studies: Dr. No (1962) which marks the beginning of the film franchise and Casino Royale (2006), which marks the more recent turn the films have taken. This thesis examines how the representations of Bond Girls and the use of costume design for their characters have changed over the course of the franchise from the days of Sean Connery to the recent reboot of the franchise with Daniel Craig as 007 James Bond. In addition to an examination of Bond Girl costume design, this thesis considers the role and influence of the costume designers. A designer’s vision of a character is derived from both the writing and the physical features of the actresses before them. Here this thesis considers how the rhetorical choices made by designers have contributed to an understanding of the relationship between femininity and power. Finally it shows how the costumes effect the power of the female characters and how the Bond Girls of today (Casino Royale) compare and/or contrast to Bond Girls of the past (Dr. No). This thesis combines the areas of feminist film theory and costume theory to provide an original rhetorical analysis of the Bond series in relation to costume design and examines the rhetorical statements made by the costume designers in their designs for the characters and how those statements influence the representations of the characters. / Dissertation/Thesis / M.A. English 2013

abstract: The author explores the influences on the interiors of Hollywood films of the late 1920s and 30s. The Exposition des Arts Décoratifs et Industriels Modernes, Paris 1925 is examined in historical context and its influence on design trends internationally. The Hollywood film industry is examined, in general, and Metro-Goldwyn-Mayer and its longtime art director, Cedric Gibbons, in particular. Eight MGM films are discussed and their interiors analyzed for related influence from the 1925 Paris Exposition. The thesis makes a case for the influence of the 1925 Paris Exposition on Cedric Gibbons and the interiors of the MGM films of the late 1920s and 30s. / Dissertation/Thesis / AnnRishell Art Deco database / Masters Thesis Design 2014

The essay is a theoretical analysis on genre, based on André Breton's views on black humor. Breton is believed to be the person who is the mind behind the term "black humor", but his views on black humour have not – as far as I’m concerned – been applied in a film-scientific context. There is no cohesive view of the genre concept, as reflected in four selected genre theorists' texts that I selected. Texts that also have been published in various decades. The disposition for my essay is to begin by clarifying the definition of “black humour” by Breton and then highlight the key ideas of Leo Braudy, Thomas Schatz, Rick Altman and David Bordwell. In the end, I will try to interpret the ways in which black humor can be formed as a genre of its own. My conclusion is that there is no clear answer to how black can be formed as its own genre, but on the other hand there are a number of critical perspectives on the genre concept. Together, all theorists demonstrates complex relationships between ideological roots and present-day added significance. In the final discussion, I argue that there is a need to continue studying more about "black humor" by adding additional relevant dimensions and linking them to genre theory.

O objetivo deste trabalho é estudar o cenário de composição e produção de trilhas musicais no cinema brasileiro desde o período chamado de Retomada até a atualidade, analisando como as transformações tecnológicas na produção musical e cinematográfica, as renovações no elenco de profissionais e artistas do cinema e do mercado fonográfico, o restabelecimento de uma produção cinematográfica baseada nas leis de incentivo criadas na década de 1990 e outras contingências colaboraram para a solidificação de novos modelos de produção de trilhas musicais originais na contemporaneidade. O momento atual do mercado cinematográfico brasileiro é marcado por significativas reconfigurações nas cadeias de produção, com predominância de modelos organizacionais que se caracterizam pela produção \"projeto por projeto\", dentro dos quais é comum haver um enxugamento da estrutura profissional e logística. Os compositores musicais são caso a se destacar nesse cenário, pois seu perfil contemporâneo difere-se bastante da figura tradicional, que costumava se tratar de um músico alinhado às práticas da música de concerto, com o trabalho voltado para a escrita na partitura e a ausência de relação direta com o aparato técnico de gravação e edição analógicas. Os compositores e produtores musicais de hoje, por conta dos avanços tecnológicos nas ferramentas digitais de áudio, do barateamento de equipamentos e das transformações no mercado cinematográfico, fonográfico e publicitário, caracterizam-se em geral por criarem suas músicas já no ambiente de produção digital, comumente aliando composição, gravação, execução, edição, mixagem e sincronização com a imagem no mesmo processo; são em sua maioria donos de seus próprios estúdios de gravação ou empresas produtoras de áudio e são bastante autossuficientes, centralizando no próprio trabalho muitas das tarefas que antes requeriam um número maior de profissionais, bem como estruturas mais complexas de produção, muitas vezes inviáveis na realidade cinematográfica anterior do país. / This research aims at studying the setting of composition and production of musical scores for the Brazilian cinema since the period called as Retomada until nowadays, by analyzing how the technological transformations in music and film production, the renovations in the cast of professionals and artists involved in movies and in the music market, the reinstatement of movie production based on financial incentive laws created on the 1990s and other contingencies have collaborated to solidify new models of film scores production in the contemporary years. The present moment of Brazilian cinematographic market is marked by meaningful reconfigurations in the production chains, with the predominance of organization models characterized by the \"project by project\" productions, in which is common a reduction of the professional and logistic structure. Music composers are to be distinguished in this setting, for their contemporary profile is very different than the traditional figures, who used to be musicians aligned to the classical music practices, with works based in musical notation and without much direct relationship with the technical apparatus of analog recording and editing. Music composers and producers nowadays, because of the technological advances in digital audio tools, the lower costs of the equipment and the transformations in the movies, music and publicity markets, are characterized, in general, for creating their music in digital production environment, commonly allying composition, recording, execution, editing, mixing and synchronization with the image in the same process. They are, mostly, owners of their recording studios or audio producing companies and are very self-sufficient, concentrating in their own work a lot of tasks that would require a greater number of professionals and a more complex structure of production before, which were impracticable many times in the earlier cinematographic reality of the country.