Background:  The 2019 Gillette advertisement ‘We believe: the best men can be’ was released when the #MeToo movement was gaining momentum. The commercial addressed conventional ideas of masculinity and received a lot of public criticism for its message. To examine how advertising affects society’s perception of gender it is essential to develop an understanding of customer responses to this controversial advertisement.     Purpose:   The purpose of this thesis is to investigate how customers respond to the controversial Gillette advertisement and the reason for this reaction. The study looks to identify the variety of emotions, actions, and cognitive processes displayed by customers by examining comments made by users on the YouTube advertisement video.    Method:  Using netnography, both a qualitative and quantitative research method, the study examined 2,400 comments from the Gillette advertisement published on YouTube. To find trends and patterns relating to customer responses, these comments are grouped and analyzed thematically. Waller’s proposed response model for controversial advertising serves as the foundation for analysis, with the inclusion of modifications to consider the special features of the YouTube comments.    Conclusion:  Analyzing the comments on the advertisement indicates a wide range of responses to the Gillette campaign. Commenters expressed disapproval, sarcasm, dislike, and offense. Negative behaviors included plans to boycott Gillette or spread negative word of mouth. There were a few positive comments that expressed positive emotions like approval, liking, and appreciation, but little to no positive actions. A majority of the negative reactions were influenced by perceptions of masculinity, gender constructs within society, political affiliation, as well as perceptions of Gillette’s brand actions. These results offer insightful understandings of the challenges of addressing masculinity and managing the social environments in the context of advertising.

The purpose of this study is to recreate the theatrical lives of three Mormon actresses through an appraisal of the critical reviews of the press, the primary source of available material.

James Robert Gillette (1886-1963) was an early advocate for original wind band music at a time when marches and band transcriptions of orchestral music contributed heavily to the wind band repertoire. Primarily known as an influential, in-demand organist and composer, Gillette became the director of the Carleton College band program in Northfield, Minnesota in 1924. Taking an innovative approach to building, organizing, and programming, Gillette transformed that group into the Carleton Symphony Band and led a wider push for the symphonic band movement. In promoting his ideals of the symphonic band, he composed and arranged music specifically for the Carleton Symphony Band. One of his original works, Vistas, was widely performed and well-received in the decade just prior to and after its publication in 1934. Despite the popularity of the piece at that time, it has since gone out of print and is a rarely performed piece from Gillette's repertoire. This dissertation focuses on Vistas, Gillette's second published tone poem. This study starts with the examination of the history of Vistas from its origins as a movement in Gillette's transcription of Paul Robert Fauchet's Symphony in B-flat to its subsequent transformation and publication as an original work for band. Next, the performance history and reception of Vistas in the United States is traced and described from the year of publication to the present day. Finally, discrepancies present in the 1934 publication of Vistas are addressed through the creation of a performance edition. This performance edition also provides modifications to make the piece more widely accessible to wind bands today and the full score is presented at the end of the study.

Solicitud de envío manuscrito de artículo científico. / Este artículo investiga el arquetipo del héroe y masculinidades en la publicidad. El proyecto se centra en validar: 1) la posibilidad de cambio en las actitudes heteronormativas en estudiantes varones de las facultades de Letras, Ingeniería y Artes de UNMSM, UNAC y ENSAD. 2) La resistencia al cambio de este grupo objetivo frente a un discurso igualitario del género. Se utiliza el caso Gillette: We believe. The best man can be como discurso publicitario arquetípico. En base a una muestra no representativa (n=297), se expone baja variabilidad estadística en el promedio general. No obstante, sí se observa cambios de mayor solidez en variables específicas como el rol de género familiar y la expresión corporal masculina. Se sugiere la existencia del cambio actitudinal en la muestra, empero se visualiza rechazo a la persuasión y contradicción en la dimensión igualitaria de género. / This article investigates the archetype of the hero and masculinities in advertising. The project focuses on validating: 1) the possibility of change in heteronormative attitudes in male students of the faculties of Humanities, Engineering and Arts of UNMSM, UNAC and ENSAD. 2) The resistance to change of this target against an equal gender discourse. The Gillette case is used: We believe. The best man can be as an archetypal advertising speech. Based on a non-representative sample (n = 297), low statistical variability is shown in the general average. However, there are changes of greater solidity in specific variables such as the role of family gender and male body expression. The existence of attitudinal change in the sample is suggested, but rejection of persuasion and contradiction in the gender equality dimension is visualized. / Tesis

The history of video art has tended to be told through a narrow lens, one that understands video as a single, coherent medium, or as defined by a single political project: an opposition to broadcast television. This thesis proposes instead to look at “actually existing video”, a methodology adapted from music scholar Benjamin Piekut that looks at the concrete variety of forms that video took at particular moments and in particular places, and in the hands of particular people. Such an approach does not seek to predetermine what video is, but rather insists on video’s heterogeneity. This thesis applies this methodology by outlining the contours of what I call, following critic Jud Yalkut, “the alternative video network”. This network was an open-ended assemblage of people, instruments, practices and shared ideas that, in the 1960s and early 1970s, embraced video as a means of engaging with the politics of technology. It included the New York-based figures Nam June Paik, Woody and Steina Vasulka, Aldo Tambellini, Juan Downey and the Raindance collective (especially Paul Ryan, Frank Gillette, Michael Shamberg, Beryl Korot and Phyllis Gershuny), and a contingent from the West Coast and Canada including the collectives T.R. Uthco, Ant Farm, Image Bank and General Idea. Its ideas and practices were circulated at places like The Kitchen in New York and the Everson Museum in Syracuse (under the guidance of curators James Harithas and David Ross), and in the publications Radical Software (edited by Korot and Gershuny) and FILE (edited by General Idea). Ultimately, I argue that this network, which assembles a variety of different art histories, and social and theoretical concerns, was unified by a shared engagement with the central problem of Cold War US discourse: how to integrate humans with the new electronic technologies that proliferated in the US in the wake of World War Two. The alternative video network analyzed the dominant solutions to this problem, and offered their own alternatives.