When people go online and leave their mark in bytes, how do their traces get preserved, shared, or lost? In the early 2000’s through about 2012, communities of millennial girl web developers and bloggers flourished on the English-speaking Internet. They would write about their intimate lives, code their website designs from scratch, create portfolios of graphics, and forge friendships with fellow bloggers that lasted through years. Most of these blogs are now gone; only patches remain as screenshots on the Internet Archive Wayback Machine. For my senior project, I explored how techniques used in glitch art, normally used for destroying image files for purely aesthetic effects, could also be used to embed texts that could be read by humans inside digital photos. I excavated photos and self-portraits of individual bloggers whose old content has since been erased from their original domains as of 2018. Then, I overrode pieces of each image file with the respective bloggers’ journal entries extracted from https://web.archive.org. The result is a picture irreversibly corroded by the loss of its original data, akin to the state of their bloggers' archived websites. It still functions like any image file in that the picture can be copied, shared, and viewed on another computer. However, unlike a typical image file, it also hides a patchwork of legible English text; one can “dig” into the image’s encoding and uncover nuggets of letters from a past Internet presence--specifically, that of a millennial girl's thoughts on identity, life, and the joys and struggles of coding and managing her own website.

In 2016, the Walt Disney Company launched Shanghai Disneyland--the company’s first theme park in mainland China. Entering mainland China poses significant political and cultural challenges for American companies. To address these challenges, Disney pursued a “glocalization” strategy -- it accounted for local norms and values in launching Shanghai Disneyland. This paper examines how Shanghai Disneyland constructed its brand narrative to negotiate tensions in this glocalization process. A semiotic analysis of two Shanghai Disneyland commercials illustrates the ways in which Disney tapped into culturally meaningful themes of harmonic balance and collective identity to produce the park’s brand narrative--“China’s Disneyland.” A thematic analysis also considers how Chinese citizens engaged with that brand narrative on the popular Chinese social network, Weibo. Citizens engaged with this brand narrative in ways that deviate somewhat from Disney’s messaging, such as by avoiding depictions of people in the park. Still, even these deviations aligned with and reinforced the cultural values in the “China’s Disneyland” brand narrative. The study underscores the importance strategically adjusting brand narratives for new markets and accounting for users’ engagement with those narratives.

THROUGH THE FIGURE OF FICTIONAL CHARACTER KATNISS EVERDEEN, THIS DISSERTATION STUDIES HOW THE FILM INDUSTRY SIMULTANEOUSLY ENTRENCHES AND DISRUPTS GENDER, SEXUAL, AND RACIAL NORMATIVITIES. THE PROJECT USES TEXTUAL ANALYSIS AND PARTICIPANT RESEARCH TO ANALYZE HOW THE FILMS AND NOVELS OF THE HUNGER GAMES SAGA ENCAPSULATE BOTH DOMINANT AND ALTERNATIVE CONCEPTIONS RELATED TO FEMININITY, MASCULINITY, WOMANHOOD, AND MOTHERHOOD. IT ALSO EXPLORES IF AND HOW THE FEMALE HEROINE CAN BE READ AS FEMINIST AND PRODUCES A SENSE OF EMPOWERMENT. I CONCLUDE THAT ALTHOUGH THE INDUSTRY IS PRODUCING NEW MODELS OF WOMANHOOD THAT CHALLENGE TRADITIONAL GENDER ROLES, IT STILL PERPETUATES ROMANTIC IDEALS AND IDEALIZES THE HETEROSEXUAL NUCLEAR FAMILY AS THE ULTIMATE PATH TO FULFILLMENT FOR WOMEN. THE RESULTS OF THE PARTICIPANT RESEARCH SHOW THAT WHILE YOUNG WOMEN ARE CRITICAL OF CERTAIN ASPECTS OF THE SAGA, OVERALL THEY VALUE HAVING STRONG FEMALE CHARACTERS IN FICTION TO WHOM THEY CAN RELATE.

By 2019, the Syrian civil war has lasted for nearly eight years and it has created the largest humanitarian crisis since WWII (Achlume, 2015). Using the siege of Aleppo in 2016 as a case study, the author applied a Marxist-humanist theoretical framework and incorporated arts-based research methodology to examine how US news media supports capitalist social relations. The research question for this study was: how do the US media depictions of the siege of Aleppo, Syria in 2016 reflect capitalist social relations? There were three sub-questions that followed: (1) Which elements of the siege of Aleppo in 2016 get the most attention in the specific outlets examined? In what ways do these depictions support the US government and/or corporate interests? (2) What are some of the ways in which Syrian refugees are depicted in the various outlets examined? How and in what ways is US humanitarian policy reflected? How are Syrian’s racialized through these depictions? and (3) How are corporate and government interests tied to these media outlets? This study used narrative inquiry, visual analysis, and critical discourse analysis as research methods to discover five major themes found in US news media’s reporting on the siege of Aleppo in 2016. The author then examined these five main themes through a Marxist-humanist lens to discover how the US news media, the supposed “gatekeeper” for the public, establishes, maintains, and reinforces an ideology that supported hegemony for the dominant class.

This thesis examines gender violence in Argentina in the context of the historic continuum of gender inequality, with a more in-depth analysis of gender violence during the 1976-1983 dictatorship. I argue that gender violence is perpetuated and normalized by its lack of recognition as a political issue with ramifications extending to daily life. I use the construction of a collective memory of the Dictatorship as a framework for making the intricacies of gender violence more visible and provide a detailed analysis of two laws against gender violence to demonstrate its systematic nature. Ultimately, laws are not sufficient to address such a widespread issue, and society is responsible for creating a dialogue that presents gender violence in a context that adequately addresses its complexities. Esta tesis examina la violencia de género en Argentina en el contexto del continuo histórico de la desigualdad entre los géneros, y en particular analiza la violencia de género de la Dictadura de 1976-1983 y de la actualidad. Propongo que la carencia de reconocer la violencia de género en un contexto político la perpetúa y la normaliza. Utilizo la construcción de la memoria colectiva de la Dictadura como un ejemplo de estrategias para visibilizar las complejidades de la violencia de género y analizo dos leyes contra tal violencia para demonstrar cuán sistemática es. Al fin, las leyes no son suficientes para abordar un problema tan generalizado y normalizado y la sociedad es responsable de desarrollar un diálogo sobre la violencia de género y sus complejidades.

Orchids: Intersex and Identity in Documentary explores the creative practice challenges of working with bodies with intersex in the long-form auto/biographical documentary Orchids. Just as creative practice research challenges the dominant hegemony of quantitative and qualitative research, so does my creative work position itself as a nuanced piece, pushing the boundaries of traditional cultural studies theories, documentary film practice and creative practice method, through its distinctive distillation and celebration of a new form of discursive rupturing, the intersex voice.

The newest generation, raised and immersed in today's hyper-consumer culture, has learned to define the self within a neoliberal and capitalist framework in which self-branding and ascribing to hegemonic principles appears imperative to one’s personal success.

The popular Social Networking Site, Facebook, offers its users the ability tocommunicate with others from all over the globe. Individuals can create a virtual identity for themselves enabling members to call, message, and locate others in a matter of seconds. The number of Facebook users appears to increase; yet, the number of members who die daily is not normally accounted. Facebook now permits the memorialization ofthe deceased’s profile. This allows members to continue commenting, sharing photos and videos, and visiting the deceased’s Facebook page. This trend led to the central question of this study, “What benefits, if any, are individuals receiving by utilizing Facebook status updates in order to cope with loss?” A gap in the literature exists pertaining to the creation of status updates for adults (25-64 years old) who have lost an immediate family member within the past year, as other studies have focused on adolescents’ and college students’ grieving processes on Facebook. As the principal investigator, I looked for what may or may not be different for individuals using Facebook status updates to cope after the loss of a loved one. I did so by interviewing seven participants, transcribing digital voice recordings, and using a grounded theory methodology to code and search for themes and patterns within the data. Participants were recruited using fliers, word of mouth, and emails sent to members of Nova Southeastern University. Findings from this study led to the discovery of the theory Social Grief after participants shared they received support, validation, and closure by using Facebook status updates to cope with the loss of an immediate family member.

This thesis will explore the segregation of detective fiction from the general fiction market between 1920 and 1940.

Many events of the gold rush have been adequately narrated in numerous books and articles. The succeeding pages in this thesis will recall, historically by topic, important incidents of one phase of that period never before treated as a separate study that phase is the theatre of the Mother Lode region. The argonauts of the Mother Lode wanted to be entertained and could pay for it. Many preferred the saloon and gamboling hall, but the theatre did not languish because of this, and in fact, developed in some instances directly out of the saloons and fandango halls. It was the purpose of this study (1) to present the history of the theatre of the Mother Lode during that portion of the gold rush period of the decade 1851-1861; (2) to show who some of the notable thespians were; (3) to describe the modes of transportation used; (4) to give historical accounts of the buildings used for, or built for, theatres; (5) to review some of the plays and performances offered; and (6) to show the influence of the audiences' reactions to the bill of theatrical fare.