This dissertation is an exploratory case study of the archives of Canadian artist Vera Frenkel and their acquisition by Queen’s University Archives in Kingston, Ontario. The research seeks to understand, through empirical investigation, the many factors that shape the artist’s recordkeeping and archives in the personal sphere and contribute to the nature of the eventual archival fonds in the institution. The foundation for the research includes the literatures of archival studies, life narrative, and art. Vera Frenkel’s interdisciplinary art work reflects a deep engagement with questions of truth and fiction. As an aspect of this theme, records and archives play a role in several of her works, often being revealed as problematic sources of evidence. Fundamental to the artist’s approach to interdisciplinarity is a complex layering of elements that builds uncertainty in the viewer. Given these aspects of Frenkel’s work, research that elicits the artist’s testimony about her archives must be able to accommodate a degree of ambiguity in the construction of that testimony. In a series of in situ interviews with the artist in her studio, the author investigated Frenkel’s recordkeeping habits and their relationship to her creative practice. As a data source, these interviews were supplemented by the artist’s photographs and hand-drawn maps of the studio. The author also investigated the processes entailed by archival transfer, examining the extant Vera Frenkel fonds at Queen’s University Archives and interviewing Heather Home, the archivist responsible for the acquisition. Both the personal and institutional spheres were taken into consideration as essential contributors to the nature of Frenkel’s archives as a complex cultural artifact. The research argues for the central role of archives in the acquisition and preservation of contemporary art. It contributes a foundation for understanding the nature of visual artists’ archives.

Thesis (M.I.D.)--Auburn University, 2008. / Abstract. Vita. Includes bibliographical references (p. 62-65).

published_or_final_version / Architecture / Master / Master of Architecture

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Hollywood’s dominance of the movie industry has been the subject of numerous studies. An interdisciplinary literature review in this thesis identified twenty different single or multiple factor explanations that try to account for Major studio dominance at different time periods but cannot comprehensively explain how Hollywood acquired and maintained dominance for nine decades. This thesis reviewed the economics, management and marketing literatures to identify existing theoretical explanations for the acquisition and persistence of market dominance. It then integrated existing theories identified within the business literature into a ‘theoretical lens’. This lens enables an historical analysis of Hollywood’s longstanding dominance of the movie business to be undertaken from a strategic business perspective. This thesis concludes that the Major studios rise to market leadership and enduring dominance can primarily be explained because they developed and maintained a set of strategic marketing management capabilities that were superior to rival firms and rival film industries. It is argued that a marketing orientation and effective strategic marketing management capabilities also provide a unifying theory for Hollywood’s enduring dominance because they can account for each of the twenty previously identified explanations for that dominance. The original contribution of this thesis is the development of a strategic marketing management lens and a set of guiding questions that can facilitate a strategic analysis of market dominance in any industry.

Thesis (M.A.)--McGill University, 1997. / Includes bibliographical references (leaves 53-56).

Thesis (M.S.)--University of Alabama at Birmingham, 2009. / Title from PDF t.p. (viewed June 30, 2010). Additional advisors: Stephen A. Watts, Paul A. Richardson, John T. Tarvin. Includes bibliographical references (p. 36-38).

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