+publisher:"University of Southern California" +contributor:("Marez, Curtis")

University of Southern California

1. Shin, Gloria Yoo Sun. White diamond: Elizabeth Taylor's adventures in American empire and the ecstasy of postcolonial whiteness.

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

URL: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/79438/rec/7926

► This dissertation examines the iconicity of movie star Elizabeth Taylor and theorizes that the amalgam of her onscreen and off screen images forms a textual… (more)

▼ This dissertation examines the iconicity of movie star Elizabeth Taylor and theorizes that the amalgam of her onscreen and off screen images forms a textual body that serves as a metaphor for American Empire at the apex of its power. Taylor is also an exemplar of postcolonial whiteness, a social and political formation which she reveals is reified through the performance of a global citizenship that is characterized by encumbered transnational mobility and white noblesse oblige. ❧ This work closely investigates Taylor’s various iterations during her seventy years of unprecedented fame: her turn as the plantation mistress in a cycle of films who helps recuperate the colonial past as the U.S. emerges as the world’s greatest military power in the 1950s, her transformation as the ecstatic globetrotting oriental in whiteface whom Taylor constructs in part through her evasions of blackness in the 1960s and 1970s, and finally onto her work as the stalwart AIDS activist during the sexually repressive and politically conservative Reagan 1980s. In these various guises the star shows an anxious and captivated audience fearing the loss of white power after the official death of empire and the rise of black liberation movements that postcoloniality actually promises whites a carte blanche to experience a modernity based on an imperative of personal liberation, pleasure, and political agency without the burdens of race. ❧ Interpreting archival materials pertaining to Taylor in the Margaret Herrick Library and the Warner Bros. Archives and using work from critical race theory, postcolonial theory, gender studies, film theory and political theory including the notion of the possessive individual for whom American citizenship was invented to protect its subjects’ rights to freedom and accumulation, this work maps how Elizabeth Taylor is the singular figure who simultaneously glamorizes capitalism and romanticizes imperialism. Through her performances of exceptional whiteness in numerous media, including Hollywood films and countless photographs which imbricate her image as both excessively glamorous and strangely beautiful star, Taylor’s signification as an unapologetic and engrossing imperial figure is used to argue that whites are indeed deserving of the exclusive privileges guaranteed by racialized juridical citizenship. Advisors/Committee Members: McPherson, Tara (Committee Chair), Lippit, Akira Mizuta (Committee Member), Marez, Curtis (Committee Member).

Subjects/Keywords: stardom; Hollywood cinema; race; performance; postcolonialism

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APA (6^th Edition):

Shin, G. Y. S. (2012). White diamond: Elizabeth Taylor's adventures in American empire and the ecstasy of postcolonial whiteness. (Doctoral Dissertation). University of Southern California. Retrieved from http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/79438/rec/7926

Chicago Manual of Style (16^th Edition):

Shin, Gloria Yoo Sun. “White diamond: Elizabeth Taylor's adventures in American empire and the ecstasy of postcolonial whiteness.” 2012. Doctoral Dissertation, University of Southern California. Accessed January 27, 2021. http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/79438/rec/7926.

MLA Handbook (7^th Edition):

Shin, Gloria Yoo Sun. “White diamond: Elizabeth Taylor's adventures in American empire and the ecstasy of postcolonial whiteness.” 2012. Web. 27 Jan 2021.

Vancouver:

Shin GYS. White diamond: Elizabeth Taylor's adventures in American empire and the ecstasy of postcolonial whiteness. [Internet] [Doctoral dissertation]. University of Southern California; 2012. [cited 2021 Jan 27]. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/79438/rec/7926.

Council of Science Editors:

Shin GYS. White diamond: Elizabeth Taylor's adventures in American empire and the ecstasy of postcolonial whiteness. [Doctoral Dissertation]. University of Southern California; 2012. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/79438/rec/7926

University of Southern California

2. 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 January 27, 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. 27 Jan 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 Jan 27]. 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

3. Kee, Chera Dezarae. And the dead shall walk the earth: Zombies and the politics of death.

Degree: PhD, Cinema-Television (Cinema Critical Studies), 2011, University of Southern California

URL: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/467381/rec/826

► In October 2009, five pale, blood-stained teenagers sat on a curb in Newhall, California. They were not crime victims nor movie extras. Rather, these teens… (more)

▼ In October 2009, five pale, blood-stained teenagers sat on a curb in Newhall, California. They were not crime victims nor movie extras. Rather, these teens were “zombies,” waiting to participate in a Zombie Walk. These events, where groups of people dressed as zombies lumber through the streets, have been happening globally since 2001 and entice up to several thousand participants for each walk. Zombies are familiar characters in comic books, video games, television and film, but with thousands of people dressing as zombies and taking to the streets, it becomes clear that the kinds of work zombies do in U.S. culture provides insight into how we approach death, try to diffuse its potency, and use it to make political interventions into everyday life. Zombies are critical repositories of social fears and desires related to capitalist wage slavery, race, gender, and the political power of the masses, and as such, they demonstrate how representations and performances of death, in widely different forms, have served remarkably consistent functions in the United States throughout the past two centuries.; This project seeks to show that the zombie, as a creature of both/and—both slave and master, both living and dead, both black and white—is often positioned as that which invades the normative space of the living, a space that is generally conceived of in terms of whiteness, patriarchy, and heterosexuality. In forcing those who exist in this space to face a being who can encompasses both their ideals and that which their society rejects, the zombie can be used to try to support heteronormative ideals and the status quo while also undercutting those same ideals—often within the same text.; Chapter one provides a survey of zombie scholarship and describes the history of the figure in U.S. popular culture. Chapter two places zombies in their historical context, considering their ties to Vodou belief and U.S-Haitian relations. Examining travelogues, magazine articles, and official documents about Haiti circulating in the United States in the late 19th and early 20th centuries, the zombie is identified as one in a long line of figures used in debates surrounding dependent territories, self-rule, and the limits of U.S. democracy. Early film zombies thus come to symbolize the paradoxes of capitalist democracy in the United States and as such, offer a potentially liberating imaginative escape from dominant systems. However, this idealistic feature of zombies is restricted by racism in early zombie films.; Chapter three considers how the zombie state in film is marked by race and gender, arguing that while the zombie can be terrifying, it also presents a fantasy of escape from white, heteronormative patriarchy. This fantasy state is often racialized, positioning blackness as more attractive than normative whiteness, and female characters frequently offer a point of identification with it. Many zombie films are therefore sites for staging conflicts over non-heteronormative desires, both promoting and punishing the transgressive and… Advisors/Committee Members: Marez, Curtis (Committee Chair), Kinder, Marsha (Committee Member), Hoskins, Janet (Committee Member).

Subjects/Keywords: zombies in film; zombie video games; Zombie Walks; voodoo in film; U.S./Haiti relations; race in film; gender in film; phantasmagoria; spiritualist phenomena; zombies and the carnivalesque

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APA (6^th Edition):

Kee, C. D. (2011). And the dead shall walk the earth: Zombies and the politics of death. (Doctoral Dissertation). University of Southern California. Retrieved from http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/467381/rec/826

Chicago Manual of Style (16^th Edition):

Kee, Chera Dezarae. “And the dead shall walk the earth: Zombies and the politics of death.” 2011. Doctoral Dissertation, University of Southern California. Accessed January 27, 2021. http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/467381/rec/826.

MLA Handbook (7^th Edition):

Kee, Chera Dezarae. “And the dead shall walk the earth: Zombies and the politics of death.” 2011. Web. 27 Jan 2021.

Vancouver:

Kee CD. And the dead shall walk the earth: Zombies and the politics of death. [Internet] [Doctoral dissertation]. University of Southern California; 2011. [cited 2021 Jan 27]. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/467381/rec/826.

Council of Science Editors:

Kee CD. And the dead shall walk the earth: Zombies and the politics of death. [Doctoral Dissertation]. University of Southern California; 2011. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/467381/rec/826

University of Southern California

4. Saenz, Noelia Vicenta. Mediating Hispanidad: screening the Hispanic-Atlantic imaginary.

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

URL: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/68297/rec/4032

► This dissertation examines the Hispanic-Atlantic imaginary as a critical site for the negotiation and promotion of a broader transatlantic identity, increasingly mediated through film and… (more)

▼ This dissertation examines the Hispanic-Atlantic imaginary as a critical site for the negotiation and promotion of a broader transatlantic identity, increasingly mediated through film and media production, distribution and consumption from Spain, Latin America and the United States. Since the 1990s, Spanish-language cinema has extended its national and linguistic boundaries through a number of Spanish-Latin American coproductions and films that either thematically or industrially engage with both regions as a common cultural and linguistic market. Similarly, the 1990s have seen the growth of U.S.-Latino and Spanish-language media that connect the U.S. with Latin America and, increasingly, Spain. This transatlantic and transhemispheric mapping recalls the Hispanic Atlantic and the period of colonization that created a commonality of language, religion and culture across these geographic spaces. Because the Hispanic-Atlantic imaginary encompasses a wide range of national film and media industries, with their own industrial history, this dissertation largely focuses on Spain’s role in mediating a transatlantic imaginary and thus, relies on case studies that focus on the changing face of Spanish national cinema and its role in fostering cinematic productions across the Atlantic. Yet, it also occasionally explores other national and/or local film contexts — Cuba, Mexico, Colombia, Bolivia and the United States — in order to demonstrate the dialogic nature of these exchanges. ❧ Although the Hispanic-Atlantic imaginary is mobilized as a form of resistance against the global dominance of the Hollywood industry, these imaginings are fraught with internal tensions given their colonial history and the national, gendered, sexual and racial legacies that continue to structure identities both within and across the Hispanic Atlantic. These legacies shape the industrial structure of these collaborations, but are also evident within the narratives themselves. While attempts to cultivate a Hispanic-Atlantic imaginary across the Spanish-speaking world is not a recent phenomenon and can be traced to the Spanish colonial project as a whole, this dissertation uses the Hispanic Atlantic as a framework that explores the power relations inherent within singular conceptions of Hispanic identity, culture and politics. With this in mind, the films and media texts discussed in this dissertation focus on gender, race and national identity as instrumental to reconfiguring transatlantic and transhemispheric bonds. Rather than viewing these overlapping film and media structures and practices as the result of a top-down and univocal articulation, the Hispanic-Atlantic imaginary demonstrates that these efforts are more dialogic in nature, thus, incorporating different national and multicultural voices that comprise the Spanish-speaking world. Advisors/Committee Members: Kinder, Marsha (Committee Chair), Marez, Curtis (Committee Member), Gutierrez-Albilla, Julian Daniel (Committee Member).

Subjects/Keywords: empire; Hispanidad; film; immigration; Spanish cinema; violence

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APA (6^th Edition):

Saenz, N. V. (2014). Mediating Hispanidad: screening the Hispanic-Atlantic imaginary. (Doctoral Dissertation). University of Southern California. Retrieved from http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/68297/rec/4032

Chicago Manual of Style (16^th Edition):

Saenz, Noelia Vicenta. “Mediating Hispanidad: screening the Hispanic-Atlantic imaginary.” 2014. Doctoral Dissertation, University of Southern California. Accessed January 27, 2021. http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/68297/rec/4032.

MLA Handbook (7^th Edition):

Saenz, Noelia Vicenta. “Mediating Hispanidad: screening the Hispanic-Atlantic imaginary.” 2014. Web. 27 Jan 2021.

Vancouver:

Saenz NV. Mediating Hispanidad: screening the Hispanic-Atlantic imaginary. [Internet] [Doctoral dissertation]. University of Southern California; 2014. [cited 2021 Jan 27]. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/68297/rec/4032.

Council of Science Editors:

Saenz NV. Mediating Hispanidad: screening the Hispanic-Atlantic imaginary. [Doctoral Dissertation]. University of Southern California; 2014. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/68297/rec/4032

University of Southern California

5. Boyda, James. A time to die: aging and the narrative imperative.

Degree: PhD, Cinema-Television (Critical Studies), 2011, University of Southern California

URL: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/639688/rec/434

► “A Time to Die: Aging and the Narrative Imperative” explores how we, as conscious beings, operate our essential and deep drive toward narrative and narrativity—what… (more)

▼ “A Time to Die: Aging and the Narrative Imperative” explores how we, as conscious beings, operate our essential and deep drive toward narrative and narrativity—what the project refers to as the narrative imperative—to conceptualize our subjective experience of time as we age. Foremost, this project considers how our impulse toward a varied narrative recourse, a desire for a range of texts and textual forms expressed through numerous medias (novels, poetry, photography, and the cinema), helps us to register ‘being’ as a distended and abstract temporal phenomenon. Consequently, this project stakes a claim in the narrative imperative as our best and most fallible means through which we attempt to negotiate, understand, and defer the finality of ‘end time’ and our predetermined mortal limit: death. ❧ Secondly, the project deals with how narratives (that which inscribe time) and images (that which resist narrative) affect very different modes of knowledge and experience in the world. To look at the temporal dimensions of narratives and images separately and then together as they meet en force in the cinema draws our attention to the dispersed character of aging identity. ❧ The through-line of the project is the active pursuit of the narrative imperative as it is and has been employed in a diversity of texts and textual forms across centuries, from the Age of Enlightenment and then forward as it expands into post-industrial time. As the narrative imperative meets with new medias and modes of representation, the project reflects upon both the limits and possibilities of cognition and reason in a visual age. At large, this work challenges conscripted ways of seeing the breadth of a life (the activity of a ‘life in review’) as any neat or uniform arc, a story that is reducible to a predictable beginning, middle, and end. Advisors/Committee Members: Kinder, Marsha (Committee Chair), Renov, Michael (Committee Member), Lippit, Akira Mizuta (Committee Member), Seiter, Ellen (Committee Member), Marez, Curtis (Committee Member).

Subjects/Keywords: cinema; narrative studies; aging; Alzheimer'; s; narrative theory; death; dying; comparative literature; documentary; literary studies; autobiography

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APA (6^th Edition):

Boyda, J. (2011). A time to die: aging and the narrative imperative. (Doctoral Dissertation). University of Southern California. Retrieved from http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/639688/rec/434

Chicago Manual of Style (16^th Edition):

Boyda, James. “A time to die: aging and the narrative imperative.” 2011. Doctoral Dissertation, University of Southern California. Accessed January 27, 2021. http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/639688/rec/434.

MLA Handbook (7^th Edition):

Boyda, James. “A time to die: aging and the narrative imperative.” 2011. Web. 27 Jan 2021.

Vancouver:

Boyda J. A time to die: aging and the narrative imperative. [Internet] [Doctoral dissertation]. University of Southern California; 2011. [cited 2021 Jan 27]. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/639688/rec/434.

Council of Science Editors:

Boyda J. A time to die: aging and the narrative imperative. [Doctoral Dissertation]. University of Southern California; 2011. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/639688/rec/434

University of Southern California

6. Avalos, Adán. ¡Que naco! Border cinema and Mexican migrant audiences.

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

URL: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/94763/rec/5372

► This dissertation is an interdisciplinary study of Mexican immigrant film audiences under neoliberalism. The primary focus is on the popular Mexican films, which proliferated soon… (more)

Subjects/Keywords: audience studies; border cinema; exploitation; nationalism; neoliberalism; migrant audiences; Mexican cinema

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APA (6^th Edition):

Avalos, A. (2012). ¡Que naco! Border cinema and Mexican migrant audiences. (Doctoral Dissertation). University of Southern California. Retrieved from http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/94763/rec/5372

Chicago Manual of Style (16^th Edition):

Avalos, Adán. “¡Que naco! Border cinema and Mexican migrant audiences.” 2012. Doctoral Dissertation, University of Southern California. Accessed January 27, 2021. http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/94763/rec/5372.

MLA Handbook (7^th Edition):

Avalos, Adán. “¡Que naco! Border cinema and Mexican migrant audiences.” 2012. Web. 27 Jan 2021.

Vancouver:

Avalos A. ¡Que naco! Border cinema and Mexican migrant audiences. [Internet] [Doctoral dissertation]. University of Southern California; 2012. [cited 2021 Jan 27]. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/94763/rec/5372.

Council of Science Editors:

Avalos A. ¡Que naco! Border cinema and Mexican migrant audiences. [Doctoral Dissertation]. University of Southern California; 2012. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/94763/rec/5372

University of Southern California

7. Paredes, Veronica. Marquee survivals: a multimodal historiography of cinema's recycled spaces.

Degree: PhD, Cinematic Arts (Media Arts and Practice), 2017, University of Southern California

URL: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/637809/rec/3968

► This project focuses on the significance of the everyday practices of Los Angeles’ South Broadway for media and cinema studies. It explores how shoppers, moviegoers,… (more)

Subjects/Keywords: race; place; media historiography; multimodal scholarship; Downtown Los Angeles; movie theaters; cinema; riots; South Broadway

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APA (6^th Edition):

Paredes, V. (2017). Marquee survivals: a multimodal historiography of cinema's recycled spaces. (Doctoral Dissertation). University of Southern California. Retrieved from http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/637809/rec/3968

Chicago Manual of Style (16^th Edition):

Paredes, Veronica. “Marquee survivals: a multimodal historiography of cinema's recycled spaces.” 2017. Doctoral Dissertation, University of Southern California. Accessed January 27, 2021. http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/637809/rec/3968.

MLA Handbook (7^th Edition):

Paredes, Veronica. “Marquee survivals: a multimodal historiography of cinema's recycled spaces.” 2017. Web. 27 Jan 2021.

Vancouver:

Paredes V. Marquee survivals: a multimodal historiography of cinema's recycled spaces. [Internet] [Doctoral dissertation]. University of Southern California; 2017. [cited 2021 Jan 27]. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/637809/rec/3968.

Council of Science Editors:

Paredes V. Marquee survivals: a multimodal historiography of cinema's recycled spaces. [Doctoral Dissertation]. University of Southern California; 2017. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/637809/rec/3968

University of Southern California

8. Mithani, Sam. The Hollywood left: cinematic art and activism in the 1930s.

Degree: PhD, Cinema-Television (Critical Studies), 2007, University of Southern California

URL: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/554898/rec/6773

► The dissertation re-examines the Thirties in its artistic, cultural and political specificity to place leftist cultural productions in their complex contexts, particularly the ideological. It… (more)

▼ The dissertation re-examines the Thirties in its artistic, cultural and political specificity to place leftist cultural productions in their complex contexts, particularly the ideological. It concentrates on radical/proletarian fiction and Hollywood leftist cinema as expressions of prevalent "crisis" conditions, such the Great Depression and the New Deal, anti-Semitism, anticommunism, labor unionism, racism in the South, and the rise of fascism/Nazism. It demonstrates how the leftist favored genres in literature (proletarian fiction) and cinema (the social-problem film) underwent transformations in response to the changing national and global conditions, leftist political positions and debates on the inter-relations between art, ideology and culture. Working in the tradition of American social criticism, the Hollywood Left responded productively to the challenges by creating a vibrant cinematic counter-discourse. Leftists strived to create a "popular Marxism" and a "leftist populism" by interpellating their critique within popular Hollywood genres, albeit subject to the commercial mandate of the studio system and its heavy-handed censorship apparatus. This contentious and creative engagement produced some of the most memorable "critical" works of Hollywood's "Golden Age" such as I am a Fugitive from a Chain Gang, Fury and Dust Be My Destiny. The dissertation critically examines these films, compares them to the mainstream "populist cinema" of Frank Capra, and argues that the Hollywood Left creatively reworked this populism to fashion a far more critical, even abrasive, cinema, giving rise to the foundational works of American film noir. The dissertation also frames leftist cinema as a committed response to the remarkable changes in race, class, gender and ideology taking places within American culture. In particular, the totalitarian ideologies of fascism and Nazism presented grave challenges to democracy.; The Hollywood Left led the filmic battle against these forces and produced energetic cinematic propaganda in films like Blockade (1938), Juarez (1939) and Confessions of a Nazi Spy (1939), which are the focus of this work. In essence the dissertation calls for a re-evaluation of the "Red Decade" as one of great cultural and artistic renaissance for American culture and the Left rather than one of disappointment, disillusion and disenchantment as has been popularized by conservative critics. Advisors/Committee Members: Marez, Curtis (Committee Chair), Kinder, Marsha (Committee Member), Simic, Andrei (Committee Member).

Subjects/Keywords: 1930s; The Hollywood Left; Frank Capra; antifascism/anti-Nazism; social-problem film; proletarian literature; Marxist films

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APA (6^th Edition):

Mithani, S. (2007). The Hollywood left: cinematic art and activism in the 1930s. (Doctoral Dissertation). University of Southern California. Retrieved from http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/554898/rec/6773

Chicago Manual of Style (16^th Edition):

Mithani, Sam. “The Hollywood left: cinematic art and activism in the 1930s.” 2007. Doctoral Dissertation, University of Southern California. Accessed January 27, 2021. http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/554898/rec/6773.

MLA Handbook (7^th Edition):

Mithani, Sam. “The Hollywood left: cinematic art and activism in the 1930s.” 2007. Web. 27 Jan 2021.

Vancouver:

Mithani S. The Hollywood left: cinematic art and activism in the 1930s. [Internet] [Doctoral dissertation]. University of Southern California; 2007. [cited 2021 Jan 27]. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/554898/rec/6773.

Council of Science Editors:

Mithani S. The Hollywood left: cinematic art and activism in the 1930s. [Doctoral Dissertation]. University of Southern California; 2007. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/554898/rec/6773

University of Southern California

9. Subramanian, Janani. Riddles of representation in fantastic media.

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

URL: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/188930/rec/5595

► My dissertation examines fantasy and identity across a variety of media, and I analyze how their various forms interact with historical contexts and help us… (more)

Subjects/Keywords: science fiction; race; identity; avant-garde; television

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APA (6^th Edition):

Subramanian, J. (2009). Riddles of representation in fantastic media. (Doctoral Dissertation). University of Southern California. Retrieved from http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/188930/rec/5595

Chicago Manual of Style (16^th Edition):

Subramanian, Janani. “Riddles of representation in fantastic media.” 2009. Doctoral Dissertation, University of Southern California. Accessed January 27, 2021. http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/188930/rec/5595.

MLA Handbook (7^th Edition):

Subramanian, Janani. “Riddles of representation in fantastic media.” 2009. Web. 27 Jan 2021.

Vancouver:

Subramanian J. Riddles of representation in fantastic media. [Internet] [Doctoral dissertation]. University of Southern California; 2009. [cited 2021 Jan 27]. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/188930/rec/5595.

Council of Science Editors:

Subramanian J. Riddles of representation in fantastic media. [Doctoral Dissertation]. University of Southern California; 2009. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/188930/rec/5595

University of Southern California

10. Nasser, Jaime Javier. Exporting tears and fantasies of (under) development: popular television genres, globalization and nationalism in Mexico after World War II.

Degree: PhD, Cinema-Television (Critical Studies), 2008, University of Southern California

URL: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/201251/rec/2682

► The focus of this dissertation primarily consists of studying popular Mexican television programming that developed shortly after the introduction of television in that country, primarily… (more)

▼ The focus of this dissertation primarily consists of studying popular Mexican television programming that developed shortly after the introduction of television in that country, primarily telenovelas and sitcoms and the ways in which they mediate global politics. Of particular interest is how an engagement with these forms allows for a greater understanding of a host of cultural anxieties in the 1960s, 1970s and 1980s, an era intricately bound up with broad networks of globalization and a rhetoric of "development".; Issues of class, gender and race are important axes and nodal points along these vectors of change, and attention is placed here in order to discern the complex and uneven way in which processes of globalization register in the national consciousness of those nations that have been imagined to be in a perpetual state of development. There are important gender and generational dimensions to developmental logic that render Latin America as inferior to the US. This is why this project emphasizes a particular genre of telenovelas referred to as " Cinderella" stories that have been successful throughout Latin America and around the globe. The innocent, noble and "savage " girl that is at the center of these narratives articulates what is implicit in official narratives of economic growth and progress by foregrounding the feminization and infatilization of Latin America. Contemporary programming strategies that attempt to adapt the telenovela in the US are discussed as a way to demonstrate how such narratives of development continue to shape our understanding of global television format exchanges today.; Given the importance of the New Latin American cinema for "world" film studies in the US, this dissertation argues that these very same feelings facilitated the formulation and the embrace of a militant cinema as a way to fight imperialism. A transmedia and transgeneric approach is deployed as a way to explore the ways in which Latin American people are infantilized in Mexican television comedies of the same period and the militant masculinity of the New Latin American cinema that are imagined to respond to this oppressive, feminized, and infantilized state of underdevelopment. Advisors/Committee Members: McPherson, Tara (Committee Chair), Marez, Curtis (Committee Member), Banet-Weiser, Sarah (Committee Member).

Subjects/Keywords: telenovela; televisa; Mexican television; Mexican broadcasting; Latin American broadcasting; Mexican television comedy; El Chavo del Ocho; Chespirito; Chapulin Colorado; Latin American melodrama; Latin American development

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Nasser, J. J. (2008). Exporting tears and fantasies of (under) development: popular television genres, globalization and nationalism in Mexico after World War II. (Doctoral Dissertation). University of Southern California. Retrieved from http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/201251/rec/2682

Chicago Manual of Style (16^th Edition):

Nasser, Jaime Javier. “Exporting tears and fantasies of (under) development: popular television genres, globalization and nationalism in Mexico after World War II.” 2008. Doctoral Dissertation, University of Southern California. Accessed January 27, 2021. http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/201251/rec/2682.

MLA Handbook (7^th Edition):

Nasser, Jaime Javier. “Exporting tears and fantasies of (under) development: popular television genres, globalization and nationalism in Mexico after World War II.” 2008. Web. 27 Jan 2021.

Vancouver:

Nasser JJ. Exporting tears and fantasies of (under) development: popular television genres, globalization and nationalism in Mexico after World War II. [Internet] [Doctoral dissertation]. University of Southern California; 2008. [cited 2021 Jan 27]. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/201251/rec/2682.

Council of Science Editors:

Nasser JJ. Exporting tears and fantasies of (under) development: popular television genres, globalization and nationalism in Mexico after World War II. [Doctoral Dissertation]. University of Southern California; 2008. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/201251/rec/2682

University of Southern California

11. Beavers, Karen. Lead man holler: Harry Belafonte and the culture industry.

Degree: PhD, Cinema-Television (Critical Studies), 2008, University of Southern California

URL: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/103666/rec/3763

► My dissertation " Lead Man Holler: Harry Belafonte and the Culture Industry" looks at how Black Americans were able to represent a black aesthetic and… (more)

Subjects/Keywords: Cinema Studies; television studies; American studies; popular music; race and media; black diaspora

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Beavers, K. (2008). Lead man holler: Harry Belafonte and the culture industry. (Doctoral Dissertation). University of Southern California. Retrieved from http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/103666/rec/3763

Chicago Manual of Style (16^th Edition):

Beavers, Karen. “Lead man holler: Harry Belafonte and the culture industry.” 2008. Doctoral Dissertation, University of Southern California. Accessed January 27, 2021. http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/103666/rec/3763.

MLA Handbook (7^th Edition):

Beavers, Karen. “Lead man holler: Harry Belafonte and the culture industry.” 2008. Web. 27 Jan 2021.

Vancouver:

Beavers K. Lead man holler: Harry Belafonte and the culture industry. [Internet] [Doctoral dissertation]. University of Southern California; 2008. [cited 2021 Jan 27]. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/103666/rec/3763.

Council of Science Editors:

Beavers K. Lead man holler: Harry Belafonte and the culture industry. [Doctoral Dissertation]. University of Southern California; 2008. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/103666/rec/3763

University of Southern California

12. Shin, Mina. Yellow Hollywood: Asian martial arts in U.S. global cinema.

Degree: PhD, Cinema-Television (Critical Studies), 2008, University of Southern California

URL: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/197116/rec/7986

► This dissertation examines the so-called "Asian invasion, " the representation of Asian martial arts in Hollywood against the wider backdrops of cultural globalization, American domestic… (more)

Subjects/Keywords: globalization; Hong Kong cinema; martial arts; Bruce Lee; Jackie Chan; kung fu; western; race

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Shin, M. (2008). Yellow Hollywood: Asian martial arts in U.S. global cinema. (Doctoral Dissertation). University of Southern California. Retrieved from http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/197116/rec/7986

Chicago Manual of Style (16^th Edition):

Shin, Mina. “Yellow Hollywood: Asian martial arts in U.S. global cinema.” 2008. Doctoral Dissertation, University of Southern California. Accessed January 27, 2021. http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/197116/rec/7986.

MLA Handbook (7^th Edition):

Shin, Mina. “Yellow Hollywood: Asian martial arts in U.S. global cinema.” 2008. Web. 27 Jan 2021.

Vancouver:

Shin M. Yellow Hollywood: Asian martial arts in U.S. global cinema. [Internet] [Doctoral dissertation]. University of Southern California; 2008. [cited 2021 Jan 27]. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/197116/rec/7986.

Council of Science Editors:

Shin M. Yellow Hollywood: Asian martial arts in U.S. global cinema. [Doctoral Dissertation]. University of Southern California; 2008. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/197116/rec/7986

University of Southern California

13. Neely, Sionne Rameah. Sensing the sonic and mnemonic: digging through grooves, Afro-feelings and Black markets in Ghana, 1966-present.

Degree: PhD, American Studies & Ethnicity, 2010, University of Southern California

URL: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/374698/rec/5797

► This study considers how the burgeoning popular music industry of Ghana becomes particularly vulnerable after Kwame Nkrumah's administration is deposed in 1966. Situated in the… (more)

▼ This study considers how the burgeoning popular music industry of Ghana becomes particularly vulnerable after Kwame Nkrumah's administration is deposed in 1966. Situated in the breach between the succeeding military regimes’ occlusion of western businesses and tourists and the post-Rawlings civil governments’ appeal to transnational financiers to invest in “modern” nation building, this project interrogates how Ghanaian musicians acquire pursuits of happiness outside the state, particularly in encounters with African American tourists for widespread distribution of music, tour bookings and access to sophisticated sound technologies. Throughout these political shifts, the lives and work of highlife and hiplife artists remain fraught with unstable wages, payola to radio DJs and conflicts with the Copyright Office over music piracy. Alliances between African American tourists and Ghanaian musicians are persistently negotiated through the transfer of a desirable “home”—in Ghana through a reclamation of racial and cultural identity in heritage performance events, sites and objects and in the U.S. and U.K. with sustainable wages through entry in the international music market.; From 2009-2010, I conducted over seven months of field research including more than 70 audio- and video-taped interviews with musicians, music producers, radio and television deejays, music union representatives, tour operators and government officials. I consider how the compelling and elusive quality of Black sound and music performance is imprinted with the peculiar and enduring mechanisms of slavery and colonization, dispossession and disfranchisement, myth and mayhem. I interweave the concepts of grooves, Afro-feelings and Black markets through the wounded natal condition of African diasporic being and the spectacular production of music in the capture/the captives/the captivating: 1) capture, a persistent historical force that dispossesses Black subjects by turning them into 2) captives, confined or restrained persons, enslaved by another against their will and the 3) captivating, how the enchanting and compelling properties of Black music and racial kinship have been used to resist and reinterpret such repressive agencies while remarkably sustaining life in the midst of it all. Advisors/Committee Members: Marez, Curtis (Committee Chair), Gilmore, Ruth Wilson (Committee Member), Kondo, Dorinne (Committee Member), Frazier, Taj Robeson (Committee Member), Moten, Fred (Committee Member).

Subjects/Keywords: African studies; African American studies; African diasporic studies; Black popular culture; ethnomusicology; 20th century African history; African music; hip hop studies; myth &; magic; nationalism

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Neely, S. R. (2010). Sensing the sonic and mnemonic: digging through grooves, Afro-feelings and Black markets in Ghana, 1966-present. (Doctoral Dissertation). University of Southern California. Retrieved from http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/374698/rec/5797

Chicago Manual of Style (16^th Edition):

Neely, Sionne Rameah. “Sensing the sonic and mnemonic: digging through grooves, Afro-feelings and Black markets in Ghana, 1966-present.” 2010. Doctoral Dissertation, University of Southern California. Accessed January 27, 2021. http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/374698/rec/5797.

MLA Handbook (7^th Edition):

Neely, Sionne Rameah. “Sensing the sonic and mnemonic: digging through grooves, Afro-feelings and Black markets in Ghana, 1966-present.” 2010. Web. 27 Jan 2021.

Vancouver:

Neely SR. Sensing the sonic and mnemonic: digging through grooves, Afro-feelings and Black markets in Ghana, 1966-present. [Internet] [Doctoral dissertation]. University of Southern California; 2010. [cited 2021 Jan 27]. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/374698/rec/5797.

Council of Science Editors:

Neely SR. Sensing the sonic and mnemonic: digging through grooves, Afro-feelings and Black markets in Ghana, 1966-present. [Doctoral Dissertation]. University of Southern California; 2010. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/374698/rec/5797

Open Access Theses and Dissertations