Wong Zerlina Sukvan. / Thesis submitted in: December 2004. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 2004-2005, design report." / Includes bibliographical references (leaves 131-134). / Preface: --- p.01-03 / Concept: / Defining Voyeurism --- p.04-10 / Defining Exhibitionism --- p.11-12 / Voyeur vs. Exhibitionist --- p.13-15 / About The Playboy Mansion --- p.16-18 / Ultimate voyeur's delight / Films Case studies: --- p.19-22 / Peeping Tom / Ephemeral --- p.23-24 / Site: --- p.25 / About the Site --- p.26-27 / Film Case Studies: --- p.28-29 / Three / Concepts generated from the site: --- p.30 / Movement in Space --- p.31 / Moving to a destination - Labyrinth --- p.32-33 / Lost in Paths - Maze --- p.34-36 / Design Stage I: / Chapter Phase I --- Conceptual Expressions --- p.37 / Chapter Phase II --- Experiential Design / Objects --- p.38-42 / Space --- p.43-47 / Movement --- p.48-50 / Materials --- p.51-56 / Chapter Phase III --- Conceptual Design --- p.57-67 / Program: --- p.68 / Concept to Program --- p.69 / Project proposal / About Bathing --- p.70-75 / Sensation of baths / The Bathing Phenomenon / Progress through the bath / "Manners, orders and forms" / Voyeur's gaze / Case Study: --- p.76-78 / Baths of Caracalla / Program --- p.79 -81 / Design Stage II: --- p.82 / Chapter Phase I --- Personal Interpretation of bath elements --- p.83-91 / Chapter Phase II --- Bath - Labyrinth --- p.92-97 / Chapter Phase III --- Final Design - Marriage of Labyrinth and Maze (public area) --- p.98 -130 / Bibliography --- p.131 -132 / References --- p.133-134 / Appendix

Thesis (M.Arch.)--University of Detroit Mercy, 2009. / "April 24, 2009." Includes bibliographical references (p. 158-159).

Thesis (M.F.A.)--Montana State University--Bozeman, 2007. / Typescript. Chairperson, Graduate Committee: Dennis Aig. Includes DVD. Includes bibliographical references (leaves 34-37).

Immersive Theater is a form of experimental theater that places spectators at the heart of the created work, by removing them from the constraint of static seats and instead encouraging them to explore an installed environment as a way of understanding the narrative. This thesis explores how Interior Design directly enhances a performance by creating spaces that challenge a spectator’s physical understanding of a narrative.

This thesis will argue that Anthony Powell's A Dance to the Music of Time is a work that can tell us much about our reading process. Powell uses a homodiegetic narrator to tell the stories of a vast array of characters over a large span of time. This narrator, Nicholas Jenkins, is, in the non-sexual sense of the word, voyeuristic. He watches and remembers the actions of others while only participating minimally. Widmerpool, the only other character to appear in all twelve volumes, is a voyeur in the sexual sense of the word. The defining feature of voyeurism is its fundamental asymmetry: the voyeur watches whilst remaining hidden and unseen. It will be argued that the reader is also involved in acts of voyeurism due to his/her asymmetrical relationship with the text. Although this equation of voyeurism and reading may seem to contradict recent reader-response critics, it will be argued that voyeurism is an apt description for the primary stage of reading.

No description available.

A growing percentage of this content consists of reaction videos, a new type of user- generated content that has been on the rise within this social media platform, in which individuals record themselves reacting to any sort of content. This paper aims to explore the dynamics involved in this type of content, not only from the perspective of the creator but also from the angle of the viewer, to try and understand what leads to the popularity of these videos. The current thesis aims not only to dissect the topic but also to present the field of Media and Communication studies with relevant and unprecedented insight into the motivations that lead viewers to engage with this kind of content and contribute to debunk this contemporary audience phenomenon. To do so, a case study was conducted on a YouTube channel named ‘REACT’. The study utilised Uses and Gratifications Theory as well as the concept of mediated voyeurism to help contextualise the reaction genre. Using content analysis, 4 of their videos were analysed qualitatively. Plus, a focus group was conducted in order to not only understand the overall sentiment towards the reaction video genre, but also identify the possible reasons for it to be a global success. Results show that reaction videos can be characterised as dynamic, highly engaging and extremely relatable videos. Furthermore, they can be of amateur nature – unscripted, spontaneous and organic, or more professionalised – scripted and edited. Additionally, while most of the needs these videos fulfil can be categorised as diversion needs, the remaining ones can be perceived as both personal identity and surveillance needs. The current research can be seen as a useful tool for society to interpret relevant patterns of content creation and consumption within the current digital age.

The proliferation of the doppelgänger theme in so many films of Wilhemine and Weimar Germany raises the question of its historical significance, in particular during Germany’s “crisis of classical modernity”. While previous studies have addressed the double from a narrative perspective, focusing on its psychological significations as divided self, this thesis instead considers the theme from a structural and historical perspective: how, as a technical reproduction of the human body that is ontologically double, at once real and unreal, it serves as a site for reflection on the visual experience of modernity and on the medium of cinema. The thesis begins by considering the relationship between the theme of the double, born circa 1800, and the burgeoning visual regimes of modernity. Important aspects of this relationship are the abstraction of representation from stable referents in the aftermath of Kantian thought, the empirical study of the observing subject, and the development of new technologies of recording and projection. Nineteenth-century technologies of optical illusion, such as the phantasmagoria and lifelike automata, as well as the itinerant showmen who displayed them, gave rise to doubles of the human body with uncanny effects of ontological uncertainty. These not only influenced the doppelgänger stories of German Romanticism and after, but also were ancestors of cinema’s doubles and their showmen. This study considers the “cinematic” themes of a set of stories and films of the double, including repeatedly performed scenarios of exhibition and voyeurism, visual pleasure and anxiety, foregroundings of the narration, and allusions to the history of cinema and media technologies. The central chapters of the thesis offer readings of five classics of German film: The Student of Prague (1913), The Cabinet of Doctor Caligari (1920), The Golem: How He Came into the World (1920), Waxworks (1924), and Metropolis (1926). Addressing the double as a reflexive theme of optical uncertainty, these readings focus on how moments of optical distress are depicted and how film language is used to construct a cinematic uncanny: an ontological problem arising from the ambivalent character of visual experience that affects the narrative and film form, characters and spectator alike. This perspective sheds light on the historical significance of the double theme, revealing its close relationship with the problematic status of vision and the observing subject in modernity, and with a special case of modern visual experience, the technological medium of cinema.

The Heart of the Park works to expose, preserve, and interpret the many layers of social history, fact, and fiction within Iowa City's City Park. This exhibition is a result of archival research, interviews, and on-site investigation. As a guide, I followed the path of Enoch Emery, a park-haunting voyeur featured in Flannery O'Connor's first novel, Wise Blood, which she wrote after graduating from the Iowa Writers' Workshop. Details of O'Connor's fictional version of City Park, in Chapter 5 of Wise Blood, as well as Enoch's relationship with the park, led to further discoveries regarding the park's history, and ultimately, a reinterpretation of these seemingly disparate layers of fact and fiction. While the contemporary archive claims depoliticized and anonymous reasons and methods for preservation, my hybrid practice creates a role for the subjective, idiosyncratic archivist, who suffuses factual research with myth-making. The Heart of the Park is one glimpse into an ongoing collection of interpreted sites, in which I attempt to prevent the loss of local histories, and enact the inevitable chain of reinterpretations of site.

Thesis (M.F.A.)--Rochester Institute of Technology, 2007. / Typescript. Includes bibliographical references.