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This thesis is an institutional history of Jewish Cultural Reconstruction, Inc. (JCR), an organization mandated by the Office of Military Government, United States (OMGUS) to assume trusteeship over heirless Jewish cultural property that had been plundered by the Nazis and later centralized in depots in the American Zone of Germany in the wake of the Second World War. Formally established in 1947, until 1951 JCR functioned as the cultural arm of the Jewish Restitution Successor Organization (JRSO) and distributed hundreds of thousands of books, thousands of ceremonial objects, and Torah scrolls to Jewish communities around the world including the United States, Israel, West Germany, Britain, and Canada. Looking beyond its mandated mission, JCR was also involved in searching for caches of Jewish property in the Allied zones, microfilming manuscripts and archives in German public institutions, and negotiating the enactment of West German legislation to safeguard future discoveries of Jewish property.Salo Baron, professor of Jewish history at Columbia University, was JCR's founder and president; many of the foremost Jewish intellectuals of the day, including Hannah Arendt, Gershom Scholem, and Leo Baeck were associated with it. This study of JCR sheds light on numerous topics, not the least of which is the political activities of Jewish academics in the aftermath of the Holocaust. Further, the internecine struggles among Jewish organizations over which group best represented world Jewry as trustee of this property is highlighted along with the development of JCR from a research commission to a U.S.-recognized supervisory body. JCR's interactions with the State and War departments as well as with the American military government in Germany add to the discussion of Jewish influence during this period. The examination of JCR's activities in the American zone between 1948 and 1951 serves to underscore the diligent work that was carried out, but also the less than ideal conditions in which this work was done. The distribution process undertaken by JCR and its member organizations emphasizes the debate surrounding what it meant to culturally reconstruct the Jewish world after the Holocaust. Finally, a discussion of JCR's very limited activities, from 1952 to 1977 when it was finally dissolved, underscores the difficulties inherent in maintaining a relevant rationale and function in an ever-changing political landscape. / Cette these presente l'histoire institutionnelle de la Jewish CulturalReconstruction, Inc. (JCR), une organisation mandatee par le bureau dugouvernement militaire des Etats Unis (OMGUS) pour assumer la tutelle desbiens juifs culturels sans heritier, qui ont ete pilles par les nazis et plus tardcentralises dans les depots de la zone americaine en Allemagne apres la DeuxiemeGuerre mondiale. De sa creation officielle en 1947 a 1951, la JCR a fonctionnecomme l'antenne culturelle de la Jewish Restitution Successor Organization(JRSO). Elle a distribue des centaines de milliers de livres, des milliers d'objetsrituels et des rouleaux de Torah aux communautes juives dans le monde,notamment aux Etats-Unis, en Israel, en Allemagne de l'Ouest, en Grande-Bretagne et au Canada. Outre sa mission originelle, la JCR a egalement participea la recherche des caches de biens juifs dans les zones alliees, a enregistre surmicrofilms des archives et des manuscrits appartenant aux institutions publiquesallemandes et est egalement intervenue pour encourager une legislation ouestallemandeafin de sauvegarder les decouvertes a venir des biens juifs.

This dissertation provides a cultural history of the first North American film archive, the Film Library of the Museum of Modern Art (New York), established in 1935. It asks a seemingly simple question: How was it that small, popular, debased, ephemeral objects like films came to be treated as precious, complex and valuable historical objects? It therefore explores how ideas about archiving (seeing and saving films) intersect with practices of collection and exhibition, by mapping the evolution of key institutional discourses and cultural trends from the birth of the medium to the Film Library. It considers links between the archive and longstanding concepts in film culture---utopianism, cinematic knowledge and art. It attends to the more specific convergence of interests---public and private, national and international---which impacted on the Film Library's institutional shape and on the debates in which it was embroiled. This dissertation shows that despite the Film Library's home within an institution of modern art, film's archival value was associated more with the urgency of recovering a history that had been lost and less with an art that had been neglected. This contention is further supported by an examination of the Film Library's first circulating film programs and their public reception. This dissertation postulates that the library's development of an unprecedented and broad acquisition policy as well as an active exhibition program made it more than a mere reflection of the uniquely historical and modern attributes of the cinema: a meeting of aesthetic ferment, technology, commercialism, propaganda, popularity and information. It concludes that the library was an important intervention into these discourses marking with institutional certainty the contested nature of film as a cultural object as well as the ongoing project to understand it.

This thesis is an investigation of the relationship between the mass media and urban space, which takes as its object of analysis the concentration of newspaper buildings on Park Row in New York in the second half of the nineteenth century. By analysing five major New York newspapers and the architecture which housed them, commonalities in form, style and structure are revealed which are based on notions of display, spectacle, advertisement, order, and sensationalism. As daily newspapers achieved greater status in nineteenth century cities, their buildings increasingly took on Italian Renaissance, French Second Empire and Gothic forms, and became among the first skyscrapers in America. This thesis documents the designs and decisions of the construction process, as well as the interpretations and justifications of the chosen styles that were offered in the newspapers, in order to explain the form and meaning of this important phenomenon of American media history.

The purpose of this study was to analyze the cover images of Vanity Fair magazine from the years 1983 to 2008. The study attempted to determine if Vanity Fair’s covers have become more focused on celebrities over time and also analyzed how Vanity Fair defines a celebrity. The study used grounded theory from a case study perspective. An additional research question was to determine the number of politically-based cover images versus the number of celebrity-based cover images. This research used content analysis methodology. Both open and axial coding were used. Results were entered into Microsoft Excel and analyzed for statistical significance. / Department of Journalism

Thesis (D.W.S.)--Institute for Worship Studies, 2005. / Abstract. Includes bibliographical references (leaves 119-130).

Calif., Univ. of Calif., Diss.--Berkeley. / Includes bibliographical references (p. [301]-315) and index.

Thesis (D.W.S.)--Robert E. Webber Institute for Worship Studies, 2007. / Abstract. Includes bibliographical references (leaves 143-148).

Thesis (D.W.S.)--Robert E. Webber Institute for Worship Studies, 2007. / Abstract. Includes bibliographical references (leaves 143-148).

Thesis (MTech (Business Administration))--Cape Peninsula University of Technology, Cape Town, 2009. / Bibliography: leaves 82-84. Also available online.