Thesis (M.A.)--Ohio State University. / Includes bibliographical references (leaves 102-106). Available online via OhioLINK's ETD Center.

Thesis (M.A.)--University of Wisconsin--Madison, 1971. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (M.A.)--University of Wisconsin--Madison, 1984. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 96-103).

Thesis (M.A.) in Communication--University of Maine, 2004. / Includes vita. Includes bibliographical references (leaves 90-97).

No description available.

This thesis explores the changing relationship of power, technology, and gender in recent Hollywood films. Beginning with ideas of gender "truths" in philosophical thought, I posit that the representation of violence is inseparable from the notion of gender, and that ideas of gender are always historically specific. / I examine masculinity and aggression in Vietnam films, arguing that masculinity must struggle to renew its privilege and its illusion of purity. / Finally, I examine combat roles for women where the heroines have accessed "male" technology to become subjects of the social act. I conclude that these representations offer a possible female subjectivity and resistance to patriarchal assimilation only when the ambivalence and fragility of that subjectivity is recognized.

Thesis (MA)--University of Stellenbosch, 2006. / Bibliography. Also available via the Internet.

Thesis, PlanB (M.S.)--University of Wisconsin--Stout, 2005. / Includes bibliographical references.

This treatise will focus on a critical examination of Gavin Hood’s South African Oscar-winning film, Tsotsi (2006), in the interest of exploring how the mass media creates a problematic configuration of the subject, in virtue of its valorization of the continued discursive colonization of Africans (identified broadly in geographical rather than racial terms). That is, within the narrative of the film, the protagonist, after engaging in a crime spree, gives himself over to the state authorities and emotively confesses to his transgressions. Importantly, this dramatic confession is represented as a triumph of the human spirit – in the form of an autonomous rehabilitation on the part of the criminal. However, if one understands the protagonist as a subject constituted by what Foucault terms the discursive regimes of disciplinary/bio-power, what emerges into conspicuity is that the protagonist’s actions rather than being the result of his growing maturity and concomitant augmenting ‘humanity’ are the consequence of a set of discursive imperatives which render him docile and prostrate. Arguably, what this serves to represent, and, indeed, propagate, is more of a superimposition of Western cultural discourses on African subjects, and less of a negotiation with such discourses by such subjects. The treatise aims to provide a theoretical solution to the negation of alternative modes of being by disciplinary/bio-power imperatives inextricable from neo-liberal subjectivity. However, in its attempts to encourage cultural negotiation between North and South, the treatise will avoid simplistic, ‘orthodox’, Marxist solutions and will instead critically contend with the theory of Ernesto Laclau and Chantal Mouffe, and their perspectives on how radical democracy can be achieved.

No description available.