+publisher:"University of Southern California" +contributor:("Imre, Aniko")

University of Southern California

1. Rosales, Jennifer Ann. Policy and practice: United States and European Union media and technology education.

Degree: PhD, Cinema-Television (Critical Studies), 2012, University of Southern California

URL: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/58283/rec/5091

► “Policy and Practice: United States and European Union Media and Technology Education” examines the steps policymakers take to employ media literacy legislation and how such… (more)

▼ “Policy and Practice: United States and European Union Media and Technology Education” examines the steps policymakers take to employ media literacy legislation and how such policies are often at odds with the strategies and methods practitioners and scholars promote. I compare the U.S. and E.U. education policies and practices, specifically for media and technology, over the last 50 years. Analyzing the historical context, I provide a lens with which to better understand the U.S. government’s current focus on globally competitive technological literacy, as opposed to the European Union’s more comprehensive media literacy policy. I argue that media and technology literacy as an outcome is discussed as a neoliberal policy strategy in which the individual must learn to self-regulate his or her media intake due to government deregulation and also learn a digital skillset to compete in the global workforce. However, the process of effectively teaching media and technology literacy does not comply with education policy strategies that focus on individualism and standardization. Instead such practices reinforce collaboration, experimentation, and critical thinking. ❧ This dissertation addresses the political-economic and institutional support that often gets taken for granted when studying media literacy. A top down perspective of how media education is being addressed at the international and national policy levels and the various networks of private sector support corresponds with a bottom up perspective that emphasizes how a single teacher or small nonprofit organization can have an impact on not only how media education gets taught but also the political-economic system that supports such an education. I demonstrate how effective media and technology education is taught and defined through an observational study and interviews in order to ultimately provide recommendations for United States and European Union policy and practice. Advisors/Committee Members: Marez, Curtis (Committee Chair), Imre, Aniko (Committee Member), Imre, Anikó (Committee Member), Mayer, Doe (Committee Member).

Subjects/Keywords: media literacy; media policy; education policy; neoliberalism

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APA (6^th Edition):

Rosales, J. A. (2012). Policy and practice: United States and European Union media and technology education. (Doctoral Dissertation). University of Southern California. Retrieved from http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/58283/rec/5091

Chicago Manual of Style (16^th Edition):

Rosales, Jennifer Ann. “Policy and practice: United States and European Union media and technology education.” 2012. Doctoral Dissertation, University of Southern California. Accessed March 05, 2021. http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/58283/rec/5091.

MLA Handbook (7^th Edition):

Rosales, Jennifer Ann. “Policy and practice: United States and European Union media and technology education.” 2012. Web. 05 Mar 2021.

Vancouver:

Rosales JA. Policy and practice: United States and European Union media and technology education. [Internet] [Doctoral dissertation]. University of Southern California; 2012. [cited 2021 Mar 05]. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/58283/rec/5091.

Council of Science Editors:

Rosales JA. Policy and practice: United States and European Union media and technology education. [Doctoral Dissertation]. University of Southern California; 2012. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/58283/rec/5091

University of Southern California

2. Dillon, Mike. Dead zones: human mobility and the making of media nationalism.

Degree: PhD, Cinema-Television (Critical Studies), 2014, University of Southern California

URL: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/408178/rec/1786

► Dead Zones explores popular film and television genres to consider how globalization produces new valuations of human mobility across national boundaries. Focusing on four figures… (more)

Subjects/Keywords: cinema; media; genre; Japan; nationalism; terrorism; travel; globalization; violence

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APA (6^th Edition):

Dillon, M. (2014). Dead zones: human mobility and the making of media nationalism. (Doctoral Dissertation). University of Southern California. Retrieved from http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/408178/rec/1786

Chicago Manual of Style (16^th Edition):

Dillon, Mike. “Dead zones: human mobility and the making of media nationalism.” 2014. Doctoral Dissertation, University of Southern California. Accessed March 05, 2021. http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/408178/rec/1786.

MLA Handbook (7^th Edition):

Dillon, Mike. “Dead zones: human mobility and the making of media nationalism.” 2014. Web. 05 Mar 2021.

Vancouver:

Dillon M. Dead zones: human mobility and the making of media nationalism. [Internet] [Doctoral dissertation]. University of Southern California; 2014. [cited 2021 Mar 05]. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/408178/rec/1786.

Council of Science Editors:

Dillon M. Dead zones: human mobility and the making of media nationalism. [Doctoral Dissertation]. University of Southern California; 2014. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/408178/rec/1786

University of Southern California

3. Ahn, Patty. Aftermarkets of empire: South Korean popular music and global logics of race and gender in the U.S. media industries.

Degree: PhD, Cinema-Television (Critical Studies), 2017, University of Southern California

URL: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/627356/rec/572

► Between the years of 2006 and 2013, South Korea’s three largest music firms—SM Entertainment, YG Entertainment, and JYP Entertainment—embarked on two consecutive promotional campaigns to… (more)

▼ Between the years of 2006 and 2013, South Korea’s three largest music firms—SM Entertainment, YG Entertainment, and JYP Entertainment—embarked on two consecutive promotional campaigns to repackage their top‐grossing artists for the mainstream American market. During the first half of the decade, Korea’s “Big Three” transformed the country’s local pop industry into a global Asian powerhouse, displacing the U.S. from its historical position as the region’s main supplier of musical imports. By 2006, Korean music companies turned their attention to the States, utilizing web‐based digital platforms, like social networking sites (SNS) and eventually YouTube (the largest video‐sharing site in the U.S.), to cultivate an American fanbase. This dissertation examines digital strategies used by Korean record companies to break into the North American market, and the complex, often competing narratives they generated about how K‐Pop performers are culturally and industrially valued in the U.S. Through careful analyses of magazine and news articles, industry trade reports, and marketing materials—including music videos, this study argues that Korea’s “digital strategy” refers not only to a mode of content delivery or media production, but a representational framework through which a range of actors in the U.S. and South Korea could promote K‐Pop as a global brand. For instance, YouTube, which serves as Korea’s primary music content distributor in the States, frequently published user data and infographics to demonstrate K‐Pop’s unexpected popularity in markets like the U.S. and France. Music industry representatives, tech industry boosters, and spokespeople for Google (YouTube’s parent company), from both sides of the Pacific, often used this information to portray its surge in the West as a largely unmanufactured, fan‐driven phenomenon and/or evidence of its inherently global appeal. However, these enthusiastic declarations have been tempered by equally dismissive claims made by American journalists that nothing makes K‐Pop distinctly “Korean,” or distinguishable from American pop, consigning it to certain failure in the States. This dissertation submits that the universalizing logic of K‐Pop’s identity as a web‐driven global genre faces a specific tension in the U.S. where the traditional media industries—film, television, and radio—have historically privileged non‐white international entertainers who can perform their racial and sexual difference within the established cultural logic of the market. Advisors/Committee Members: Seiter, Ellen (Committee Chair), Imre, Aniko (Committee Member), Imre, Anikó (Committee Member), Kun, Joshua D. (Committee Member).

Subjects/Keywords: K‐Pop; Korea; popular music; music videos; hallyu; Korean Wave; media industries; Korean War; YouTube; Psy; Gangnam Style; SM Entertainment

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APA (6^th Edition):

Ahn, P. (2017). Aftermarkets of empire: South Korean popular music and global logics of race and gender in the U.S. media industries. (Doctoral Dissertation). University of Southern California. Retrieved from http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/627356/rec/572

Chicago Manual of Style (16^th Edition):

Ahn, Patty. “Aftermarkets of empire: South Korean popular music and global logics of race and gender in the U.S. media industries.” 2017. Doctoral Dissertation, University of Southern California. Accessed March 05, 2021. http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/627356/rec/572.

MLA Handbook (7^th Edition):

Ahn, Patty. “Aftermarkets of empire: South Korean popular music and global logics of race and gender in the U.S. media industries.” 2017. Web. 05 Mar 2021.

Vancouver:

Ahn P. Aftermarkets of empire: South Korean popular music and global logics of race and gender in the U.S. media industries. [Internet] [Doctoral dissertation]. University of Southern California; 2017. [cited 2021 Mar 05]. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/627356/rec/572.

Council of Science Editors:

Ahn P. Aftermarkets of empire: South Korean popular music and global logics of race and gender in the U.S. media industries. [Doctoral Dissertation]. University of Southern California; 2017. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/627356/rec/572

University of Southern California

4. Heberer, Feng-Mei. Existential surplus: affect and labor in Asian diasporic video cultures.

Degree: PhD, Cinema-Television (Critical Studies), 2017, University of Southern California

URL: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/571636/rec/2608

► Existential Surplus: Affect and Labor in Asian Diasporic Video Cultures investigates contemporary identity discourses in Asian diasporic film and video. As the first substantial study… (more)

▼ Existential Surplus: Affect and Labor in Asian Diasporic Video Cultures investigates contemporary identity discourses in Asian diasporic film and video. As the first substantial study of Asian diasporic media in North America, Western Europe, and East Asia, this project analyzes the media works as worldmaking tools that reimagine dominant fictions of belonging. Specifically, at a time when ethnic and racial diversity are transforming into social capital and symbolizing the “good” nation‐state, I examine how Asian diasporic media makers reformulate notions of minoritarian personhood by staging subjects and affinities that are foreclosed by and, indeed, unsettle established identity narratives. Within this context, my research investigates the emergence of negative affect as a political strategy across personal documentaries, experimental videos, and recorded performances from the last decade. With a focus on the visual work of queer Asian German filmmakers (Ming Wong, Wayne Yung), female Asian American performance artists (Kristina Wong), and Southeast Asian migrant workers in Taiwan, I analyze how these diasporic agents mobilize affective registers of queer desire, depression, cruel optimism, and sentimentality to defy their social invisibility. At the same time, I explore how these artists and migrant workers deploy these emotional investments to offer narratives of political grievance, everyday survival, and intimate social worlds that move notions of belonging beyond the frameworks of national inclusion and ethnic kinship. Ultimately, I argue that this body of works collectively combines into what I call existential surplus—a repertoire of diasporic subjectivities that allows alliances that might not be legible in existing terms to come to the surface as objects of representation. Combining close reading with discourse analysis and social critique, the dissertation approaches affect thus not only as carrier of omitted Asian diasporic histories. I conceptualize affect as an analytic that allows for a new reading practice of transnational affinities. Advisors/Committee Members: Lippit, Akira Mizuta (Committee Chair), Hong, Grace (Committee Member), Imre, Aniko (Committee Member), Imre, Anikó (Committee Member), Keeling, Kara (Committee Member).

Subjects/Keywords: Asia; diaspora; labor; affect; race; gender; sexuality; transnational; video; performance; disability studies; precarity

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APA (6^th Edition):

Heberer, F. (2017). Existential surplus: affect and labor in Asian diasporic video cultures. (Doctoral Dissertation). University of Southern California. Retrieved from http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/571636/rec/2608

Chicago Manual of Style (16^th Edition):

Heberer, Feng-Mei. “Existential surplus: affect and labor in Asian diasporic video cultures.” 2017. Doctoral Dissertation, University of Southern California. Accessed March 05, 2021. http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/571636/rec/2608.

MLA Handbook (7^th Edition):

Heberer, Feng-Mei. “Existential surplus: affect and labor in Asian diasporic video cultures.” 2017. Web. 05 Mar 2021.

Vancouver:

Heberer F. Existential surplus: affect and labor in Asian diasporic video cultures. [Internet] [Doctoral dissertation]. University of Southern California; 2017. [cited 2021 Mar 05]. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/571636/rec/2608.

Council of Science Editors:

Heberer F. Existential surplus: affect and labor in Asian diasporic video cultures. [Doctoral Dissertation]. University of Southern California; 2017. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/571636/rec/2608

University of Southern California

5. Provencher, Kenneth. Japan in transnational Hollywood: industry and identity, 1985-1995.

Degree: PhD, Cinema-Television (Critical Studies), 2013, University of Southern California

URL: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/289608/rec/3685

► This dissertation examines the process of intensified merging of Hollywood and Japanese cinema in the 1980s and 1990s. This process is occurring within, and in… (more)

Subjects/Keywords: globalization; Hollywood; Japan; Japanese cinema; transnational cinema; U.S.-Japan relations

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APA (6^th Edition):

Provencher, K. (2013). Japan in transnational Hollywood: industry and identity, 1985-1995. (Doctoral Dissertation). University of Southern California. Retrieved from http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/289608/rec/3685

Chicago Manual of Style (16^th Edition):

Provencher, Kenneth. “Japan in transnational Hollywood: industry and identity, 1985-1995.” 2013. Doctoral Dissertation, University of Southern California. Accessed March 05, 2021. http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/289608/rec/3685.

MLA Handbook (7^th Edition):

Provencher, Kenneth. “Japan in transnational Hollywood: industry and identity, 1985-1995.” 2013. Web. 05 Mar 2021.

Vancouver:

Provencher K. Japan in transnational Hollywood: industry and identity, 1985-1995. [Internet] [Doctoral dissertation]. University of Southern California; 2013. [cited 2021 Mar 05]. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/289608/rec/3685.

Council of Science Editors:

Provencher K. Japan in transnational Hollywood: industry and identity, 1985-1995. [Doctoral Dissertation]. University of Southern California; 2013. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/289608/rec/3685

University of Southern California

6. Moss, Joshua Louis. Why Harry met Sally: coupling narratives and the Christian-Jewish love story.

Degree: PhD, Cinema-Television (Critical Studies), 2012, University of Southern California

URL: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/72235/rec/7939

► This dissertation is a broad historical, cross-disciplinary examination of how Christian-Jewish coupling narratives have served as sites of ideological, political, and cultural contestation in numerous… (more)

▼ This dissertation is a broad historical, cross-disciplinary examination of how Christian-Jewish coupling narratives have served as sites of ideological, political, and cultural contestation in numerous American and European contexts. Through a broad sampling of texts from cinema, literature, television, theater, and radio from the 1850s through the 2000s, this project argues that the emancipatory solution for the crisis of modernity transmuted into the erotic realm in the form of “the coupling narrative.” The transformations brought about by the global media landscape produced both emancipatory and reactionary configurations of the “Christian” and the “Jew” as representations of ideological contestation. In the early twentieth century, American mass media responded to European fascism and eugenics theory by producing Christian-Jewish couplings as a progression narrative in the emerging, and then dominant, Hollywood film industry. ❧ Through detailed cross-disciplinary textual readings and an engagement with a broad spectrum of critical analysis, this project argues that the “coupling narrative” has used representations of gender, sexuality, class, race, and eroticism to thematize the legacies of historical trauma. Chapter one traces the roots of this configuration to European politics in the late nineteenth century. Political figures such as Benjamin Disraeli and Alfred Dreyfus, informed Jewish representations in literature by Proust, Kafka, and Joyce, and the cinema of Méliès. In the 1920s, 1960s, and 1990s, the three periods of American film and television focused on in this dissertation, Christian-Jewish coupling narratives became important cultural sites of political arbitration. In politically liberal climates, Christian-Jewish couplings formed emancipatory tales of multiculturalism. This was seen in films such as The Jazz Singer (1927), The House of Rothschild (1934), The Graduate (1967), and Dirty Dancing (1987). In conservative and nativist climates, such as the 1930s, 1950s and 1980s, Jewish alterity, along with a more general ethnic visibility was denied through absence. This structure is defined as “Christonormativity.” ❧ In tandem with the historical nature of this research, this dissertation also theorizes the role of Jewish and Christian bodies as competing archetypes. Jewish bodies functioned in numerous historical eras as destabilizing and disruptive forces. This can be read through coupling narrative iconography. Chapters three, four, and five trace how Jewish identity and Christian normativity developed as a relational erotic expression of youth culture and avant-garde resistance in the postwar era. These chapters argue that the Christian-Jewish coupling was a privileged mode of resistance to ethnic, gender, sexual and racial classifications that had emerged in the wake of World War Two and the HUAC investigations of the 1950s. The political and cultural upheavals of the late 1960s produced a second wave of Christian-Jewish couplings in which the “Jew” became an emancipatory signifier of both the… Advisors/Committee Members: Lippit, Akira Mizuta (Committee Chair), Ross, Steven J. (Committee Member), Kinder, Marsha (Committee Member), Imre, Aniko (Committee Member), Imre, Anikó (Committee Member).

Subjects/Keywords: romantic comedy; Disraeli; Dreyfus; Jewish; Christian; film; historiography

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APA (6^th Edition):

Moss, J. L. (2012). Why Harry met Sally: coupling narratives and the Christian-Jewish love story. (Doctoral Dissertation). University of Southern California. Retrieved from http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/72235/rec/7939

Chicago Manual of Style (16^th Edition):

Moss, Joshua Louis. “Why Harry met Sally: coupling narratives and the Christian-Jewish love story.” 2012. Doctoral Dissertation, University of Southern California. Accessed March 05, 2021. http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/72235/rec/7939.

MLA Handbook (7^th Edition):

Moss, Joshua Louis. “Why Harry met Sally: coupling narratives and the Christian-Jewish love story.” 2012. Web. 05 Mar 2021.

Vancouver:

Moss JL. Why Harry met Sally: coupling narratives and the Christian-Jewish love story. [Internet] [Doctoral dissertation]. University of Southern California; 2012. [cited 2021 Mar 05]. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/72235/rec/7939.

Council of Science Editors:

Moss JL. Why Harry met Sally: coupling narratives and the Christian-Jewish love story. [Doctoral Dissertation]. University of Southern California; 2012. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/72235/rec/7939

University of Southern California

7. Piday-Warren, Marika. Color inside the lines: race and representation in the formula dance film.

Degree: PhD, Cinema-Television (Critical Studies), 2015, University of Southern California

URL: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/606079/rec/1452

► An examination of the recent urban dance genre in regards to cultural appropriation, cinematic representations of race, and the commodification of Black style. Advisors/Committee Members:… (more)

Subjects/Keywords: dance; race; racialized bodies; popular film; hip-hop culture; Black commodity culture

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APA (6^th Edition):

Piday-Warren, M. (2015). Color inside the lines: race and representation in the formula dance film. (Doctoral Dissertation). University of Southern California. Retrieved from http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/606079/rec/1452

Chicago Manual of Style (16^th Edition):

Piday-Warren, Marika. “Color inside the lines: race and representation in the formula dance film.” 2015. Doctoral Dissertation, University of Southern California. Accessed March 05, 2021. http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/606079/rec/1452.

MLA Handbook (7^th Edition):

Piday-Warren, Marika. “Color inside the lines: race and representation in the formula dance film.” 2015. Web. 05 Mar 2021.

Vancouver:

Piday-Warren M. Color inside the lines: race and representation in the formula dance film. [Internet] [Doctoral dissertation]. University of Southern California; 2015. [cited 2021 Mar 05]. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/606079/rec/1452.

Council of Science Editors:

Piday-Warren M. Color inside the lines: race and representation in the formula dance film. [Doctoral Dissertation]. University of Southern California; 2015. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/606079/rec/1452

University of Southern California

8. Lagerwey, Jorie. Are you there, God? It's me, TV: religion in American TV drama, 2000-2009.

Degree: PhD, Cinema-Television (Critical Studies), 2009, University of Southern California

URL: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/227570/rec/889

► The first decade of the twenty-first century produced a new type of religious drama on secular television that put religious themes and characters at the… (more)

Subjects/Keywords: television; religion; television genre; gender; race; celebrity; United States

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APA (6^th Edition):

Lagerwey, J. (2009). Are you there, God? It's me, TV: religion in American TV drama, 2000-2009. (Doctoral Dissertation). University of Southern California. Retrieved from http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/227570/rec/889

Chicago Manual of Style (16^th Edition):

Lagerwey, Jorie. “Are you there, God? It's me, TV: religion in American TV drama, 2000-2009.” 2009. Doctoral Dissertation, University of Southern California. Accessed March 05, 2021. http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/227570/rec/889.

MLA Handbook (7^th Edition):

Lagerwey, Jorie. “Are you there, God? It's me, TV: religion in American TV drama, 2000-2009.” 2009. Web. 05 Mar 2021.

Vancouver:

Lagerwey J. Are you there, God? It's me, TV: religion in American TV drama, 2000-2009. [Internet] [Doctoral dissertation]. University of Southern California; 2009. [cited 2021 Mar 05]. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/227570/rec/889.

Council of Science Editors:

Lagerwey J. Are you there, God? It's me, TV: religion in American TV drama, 2000-2009. [Doctoral Dissertation]. University of Southern California; 2009. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/227570/rec/889

University of Southern California

9. Shembel, Daria. The cine-eye goes digital: Vertov, Paradjanov and the poetic database.

Degree: PhD, Slavic Languages & Literatures, 2009, University of Southern California

URL: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/218000/rec/6511

► "The Cine-Eye Goes Digital" provides a revisionist study of poetic film through the concept of "poetic database" and examines how the theory and practice of… (more)

▼ "The Cine-Eye Goes Digital" provides a revisionist study of poetic film through the concept of "poetic database" and examines how the theory and practice of poetry/film convergence laid the groundwork for the development of new media "database aesthetics" (Manovich). The project focuses on the experimental cinema of Dziga Vertov and Sergei Paradjanov and explores how the search for poetic sensibility in their works has led to the strategies of interchangeability, interactivity and virtuality that represent an essential part of their "poetic databases" and further define the logic of digital environments as a whole.; Sustaining the links between theory and practice of poetic cinema, the films of Vertov and Paradjanov are placed within the specific theoretical approaches: the Formalist (pre)-semiotic and Western "ocularcentic" tradition (Pasolini, Deleuze) that inform the sources of their "poetic databases" and provide the basis for the narratological and rhizomatic methods of the analysis of digital environments.; The study also investigates the tension between totalizing ideology and the utopian liberation of perception in Vertov's work and the paradoxical effect it has on limitations that cultural production encounters in the age of digital media. My approach is partly based on the film theory of the late French philosopher Gilles Deleuze, whose analysis of virtuality and the senses is applied to Paradjanov's tableaux aesthetics, while Deleuze's work on de/re-territorialization, in collaboration with Felix Guattari, is used to underscore Vertov's conflict between liberated perception and the politics of form. By examining how different approaches to poetic cinema led to the logic of the "poetic database" the dissertation reveals the internal paradoxes within the database culture: on the one hand, it may release new creative energy and freedom, and, on the other, due to its reliance on the maximum efficiency of communication, it could just as well function as the source of new restrictions. Advisors/Committee Members: Levitt, Marcus (Committee Chair), Zholkovsky, Alexander (Committee Member), Pratt, Sarah (Committee Member), Imre, Aniko (Committee Member).

Subjects/Keywords: database; cinema; Vertov; Paradjanov; poetic film

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APA (6^th Edition):

Shembel, D. (2009). The cine-eye goes digital: Vertov, Paradjanov and the poetic database. (Doctoral Dissertation). University of Southern California. Retrieved from http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/218000/rec/6511

Chicago Manual of Style (16^th Edition):

Shembel, Daria. “The cine-eye goes digital: Vertov, Paradjanov and the poetic database.” 2009. Doctoral Dissertation, University of Southern California. Accessed March 05, 2021. http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/218000/rec/6511.

MLA Handbook (7^th Edition):

Shembel, Daria. “The cine-eye goes digital: Vertov, Paradjanov and the poetic database.” 2009. Web. 05 Mar 2021.

Vancouver:

Shembel D. The cine-eye goes digital: Vertov, Paradjanov and the poetic database. [Internet] [Doctoral dissertation]. University of Southern California; 2009. [cited 2021 Mar 05]. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/218000/rec/6511.

Council of Science Editors:

Shembel D. The cine-eye goes digital: Vertov, Paradjanov and the poetic database. [Doctoral Dissertation]. University of Southern California; 2009. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/218000/rec/6511

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