Thesis (M.A.)--Bowling Green State University, 2007. / Document formatted into pages; contains viii, 105 p. : ill. Includes bibliographical references.

This study is a textual thematic analysis that sought to identify recruiting themes embedded in a World War II combat film, Guadalcanal Diary (1943). The film was chosen on the basis of its representative ness of the combat films of the era. The study was completed through a deconstruction of the film, identifying scenes that contained either manifest or latent, recruiting appeals. The appeals were those Padilla and Laner’s 2001 study identified as the predominant themes used in 1942 recruiting posters. Additionally, the study examined the film using Carey’s (1989) theory of a ritual view of communication, a view that focuses on the role of communication acts in the maintenance of society over time. An historical context addressing the relationship between the federal government and Hollywood, and the Selective Service, voluntary enlistments and the armed forces, is included for clarification purposes. The film was found to exhibit both manifest and latent references to the four recruiting themes, which included a gain in status, recognition of patriotic behavior, adventure and challenge, and traditions and honor of the military. Further research is indicated in the areas of feature films and embedded recruiting messages, other forms of popular media during the war and recruiting messages, and the relationship between the draft and voluntary enlistments during war eras. / Thesis (M.A.)--Wichita State University, College of Liberal Arts and Sciences. / "May 2006." / Includes bibliographic references (leaves 77-83)

Thesis (D. Min.)--Concordia Seminary, 2003. / Abstract. Includes bibliographical references (leaves 210-218).

Thesis (D. Min.)--Concordia Seminary, 2003. / Abstract. Includes bibliographical references (leaves 210-218).

Thesis (D. Min.)--Concordia Seminary, 2003. / Abstract. Includes bibliographical references (leaves 210-218).

Thesis (M.A.)--University of Montana, 2007. / Title from title screen. Description based on contents viewed July 17, 2007. Includes bibliographical references (p. 93-101).

No description available.

Thesis (Ph.D.) - Carleton University, 2002. / Includes bibliographical references (p. 296-312). Also available in electronic format on the Internet.

In this dissertation, I map the experimental margin of Algerian cinema between 1965 and 1979 against the paradigmatic film about Algeria, Gillo Pontecorvo and Yacef Saadi’s The Battle of Algiers (1965). I focus on the period immediately following the successful conclusion of an eight-year war waged by the Algerian National Liberation Front against France. It is known as the “Golden Age” of Algerian cinema, a span of nearly fifteen years after the film industry was nationalized when culture was generously financed by newly exploited petrochemical resources in the Sahara. This mapping has two aims, the first of which is straightforward: I read four films made in Algeria by Algerian filmmakers closely in light of their socio-political contexts and I argue that together they represent a significant and overlooked minor history in Algerian film. The films are Tahia Ya Didou! by Mohamed Zinet (1969), Omar Gatlato by Merzack Allouache (1976), La Nouba des Femmes du Mont Chenoua by Assia Djebar (1976), and Nahla by Farouk Beloufa (1979). They are significant formally and in terms of their critical reception at the time and since the late 1960s and early 1970s among Algerian filmmakers, but they are crucially significant as ambivalent testimony about life after the colonial period and about the traumatic effect of the long and violent struggle for liberation. Second, I read these films against the Battle of Algiers in its socio-political context. I argue that the aspects of the War of Liberation that fall out of this canonical portrait of decolonial resistance are precisely those taken up by the experimental margin I examine elsewhere in the dissertation. My reading of Pontecorvo and Saadi’s classic film is critical not only in terms of its representation of violence perpetrated by the French but also in the aspects of Algerian history it occludes, namely the history of women. If the margin provides a space for testimony for the trauma of the war, the Battle of Algiers reifies a Fanonian understanding of revolutionary violence, an understanding that is constitutively exclusive of women’s role in the war. I read extensively with Karima Lazali on the clinical situation of Algerians post-war. I draw on archival materials from Algeria and France including production notes and documentation of contemporary reception, especially by Algerians. On contextual questions, I read Algerian sociologists, politicians, filmmakers, and film critics as much as possible. My commitment to de-centering especially a French perspective on Algeria allows the rich semiotic exchange between filmmakers, artists, architects, and political activists to emerge and to challenge the hegemonic perspective that Algerian culture post-war was entirely dominated by its authoritarian government.

The research project uses still life as a means of exploring current events of violence and oppression. These events are represented through juxtaposing plastic toys with organic objects. The toys include a range of popular generic toys such as army men, cowboys and Indians and toy soldiers. The organic objects were selected for their relationship to the specific event being represented. The toys and organic objects were positioned to create interesting and logical compositions. Themes of the series include opposing objects and ideas pitched against each other such as plastic/organic, perpetrator/victim, violence/peacefulness and destruction/sustenance. Within each work the plastic toys take on the demeanor of the tyrant(s), whereas the organic objects adopt the role of the victim(s). The research project uses these themes to convey the message that violence is both a barbaric way of dealing with conflict and a senseless form of self-expression. I have used symbols and metaphors to build a visual language. For the language to be translated accurately a great deal of research has taken place into the appropriate still life objects for each work. Each work incorporates metaphors and or symbols for both the oppressor and victim within the event being represented. The studio outcome of this research project, Silent Bang, includes a series of highly detailed finished paintings of various scales. Silent Bang as a body of work is colourful and aims to be aesthetically pleasing in addition to conveying a powerful message that incites interpretation.