Theses

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  • "Leni Riefenstahl simply will not go away:" an analysis of the media discourses about Hitler's filmmaker
    "Leni Riefenstahl simply will not go away:" an analysis of the media discourses about Hitler's filmmaker
    Leni Riefenstahl will forever be connected to the political ideology of fascism and the images of Adolf Hitler and male strength and beauty she brought to the screen in Triumph of the Will (1935) and Olympia (1938), the contested masterpieces of her filmmaking career under the Third Reich. Now 100 years old and releasing her first film in almost half a century, she has remained a ubiquitous media presence for most of her life. In the 1 970s, an article in Newsweek began: "Leni Riefenstahl simply will not go away" and her media presence has only increased since that time ("Leni's triumph of the will" 11/29/76). More recently, in the past decade, Vanity Fair featured an interview with Riefenstahl and published Helmut Newton's photographs of her; lengthy reviews of her memoirs appeared in the New York Times, the Globe and Mail, and the Times of London; Ray Muller's documentary, The Wonderful, Horrible Life of Leni Riefenstahl appeared at film festivals in New York and Washington, D.C.; and Jodie Foster's decision to make a film based on Riefenstahl's life was announced on CNN. This media attention prompted Eric Rentschler to describe Riefenstahl as "the Third Reich's most visible living celebrity and a constant object oflurid speculation, be it as 'Hitler's girlfriend,' a 'Nazi pin-up girl,' or a 'fallen goddess.' The spectacle of Riefenstahl has always made for good press" (1996: 27-8). This paper examines the media's enduring fascination with Riefenstahl by analyzing articles devoted to the filmmaker's life and work that have appeared in Western newspapers, popular journals and on the Internet over the course of the past three decades.
    "Nannies strike back": the representation of live-in caregivers and the Live-in Caregiver Program  in the mainstream and ethnic press
    "Nannies strike back": the representation of live-in caregivers and the Live-in Caregiver Program in the mainstream and ethnic press
    Utilizing Critical Discourse Analysis (CDA), this study examines the representation of live-in caregivers (LC) and the Live-in Caregiver Program (LCP), between 2007 and 2013, in eleven mainstream Canadian newspapers (N=32) and five Filipino-Canadian newspapers (N=31). It contributes to the extant media analyses on the LCP by including the perspective of the ethnic press and, thus, the voices of LC, LC advocates, and members of the Filipino community. It also examines the recent hype surrounding the emergence of au pairing as a suitable caregiving option for Canadian families in light of the declining number of LC following the April 1, 2010 reforms to the LCP. This study concludes that the mainstream Canadian press portrayal of LC and their children is congruous with the “Problem Approach,” while that in the ethnic newspapers is congruous with the “Agency Approach” providing a space to both empower LC and resist negative mainstream portrayals.
    "Nannies strike back": the representation of live-in caregivers and the Live-in Caregiver Program in the mainstream and ethnic press
    "Nannies strike back": the representation of live-in caregivers and the Live-in Caregiver Program in the mainstream and ethnic press
    Utilizing Critical Discourse Analysis (CDA), this study examines the representation of live-in caregivers (LC) and the Live-in Caregiver Program (LCP), between 2007 and 2013, in eleven mainstream Canadian newspapers (N=32) and five Filipino-Canadian newspapers (N=31). It contributes to the extant media analyses on the LCP by including the perspective of the ethnic press, and, thus, the voices of LC, LC advocates, and members of the Filipino community. It also examines the recent hype surrounding the emergence of au pairing as a suitable caregiving option for Canadian families in light of the declining number of LC following the April 1, 2010 reforms to the LCP. This study concludes that the mainstream Canadian press portrayal of LC and their children is congruous with the "Problem Approach," while that in the ethnic newspapers is congruous with the "Agency Approach," providing a space to both empower LC and resist negative mainstream portrayals.
    "Photographic encounters : 30 years of collecting" : a case study for the organization of photographic exhibitions
    "Photographic encounters : 30 years of collecting" : a case study for the organization of photographic exhibitions
    The present Professional Practice Project is aimed to be an analytical review of the process of organizing an exhibition. From conception to proposal writing, "Photographic Encounters: 30 Years of Collecting" is a review of all the steps and the methods followed to put together an exhibition. This work aims to be a tool for those who would like to organize photographic exhibitions and will serve as a methodological approach to curatorial practices; starting with the cataloguing of the collection it will cover every step of the way including conceiving the database, reproducing images, background research, curatorial decisions (such as which pieces will be part of the selection, in which order, how to group them), the layout of the gallery, some guidelines on future graphic design, and selected readings on curatorial practices, exhibition design, databases, cataloguing, etc. At the end, the discussion chapter will refer to other curators' approaches to the same tasks, to illustrate different approaches.
    "Remembering is Our Mutiny": An Examination of Exile, Memory, and Palestinian Identity in Salt Houses
    "Remembering is Our Mutiny": An Examination of Exile, Memory, and Palestinian Identity in Salt Houses
    [Introductory paragraph] : “Remembering is Our Munity”: An Examination of Exile, Memory, and Palestinian Identity in Salt Houses “[W]hat is true of all exiles is not that home and love of home are lost, but that loss is inherent in the very existence of both.”- Edward Said, “Reflection on Exile” (1984) Watan means homeland in Arabic. For exiled Palestinians, the politically charged term evokes a painful memory of home, loss, and expulsion from a land they were forced to flee in 1948. The 1948 Israeli-Arab War which led to the creation of the State of Israel, also resulted in the devastation of Palestinian society. This period is regarded by Palestinians as the nakba, or the catastrophe, which saw the displacement and expulsion of over 800,000 Palestinians from their communities (Gelvin 236). Approximately 80 percent of the Palestinians who lived in the major part of Palestine, upon which Israel was established, became refugees (Abu-Lughod and Sa’di 3). The minority of Palestinians who remained in the newly-minted state became “nominal citizens” and were subject to a separate system of “military administration” (3). In the same year, those who had stayed witnessed the systematic annexation of their lands (Abu-Lughod 3). Others became internally-displaced refugees and sought refuge in places like the West Bank and the Gaza Strip, which were under the control of Jordan and Egypt respectively (Gelvin 240). Thus, historic Palestine became “a society disintegrated, a people dispersed, and a complex and historically changing but taken for granted communal life was violently ended” (Abu-Lughod and Sa’di 3).
    "Sharing power" : representation of visible minorities on the boards of selected immigrant serving agencies in Peel
    "Sharing power" : representation of visible minorities on the boards of selected immigrant serving agencies in Peel
    This study analyzes patterns of racial minority representation on the Boards of immigrant serving agencies (ISAs) in the cities of Mississauga and Brampton in the Region of Peel, Ontario. Executive Directors of 13 organizations were contacted and asked to provide ethnic, gender, age and educational information on the composition of their Boards and to describe the ethnic make-up of the client populations they serve. Boards were then scored on diversity (numbers of different ethnic members on the Board) and representativeness (a comparison of the ethnic composition of the Boards to the ethnic make-up of the population served by their ISAs). Findings indicate a wide range of scores on both diversity and representativeness. Some Boards are fully homogeneous and unrepresentative of their clients. Others are diverse but unrepresentative, and still others are fully representative of their client populations.
    "So, you want a database? : a beginner's guide to database technology for small cultural institutions"
    "So, you want a database? : a beginner's guide to database technology for small cultural institutions"
    This thesis project is comprised of a twenty page folded booklet and ten page analytical paper. The booklet is meant as a beginner's guide to collections management systems within cultural institutions. Its primary audience is smaller institutions that may not have the benefit of staff with expert or prior knowledge of electronic databases and collections management systems. The booklet outlines what a database is, why collection management systems are important, a frequently asked question section, a glossary and an additional resource page. The frequently asked questions section gives examples of why database management systems are important and how to choose a collections managament system, along with other commonly asked questions.
    "Teaching the educator: studying the de:commodifying self".
    "Teaching the educator: studying the de:commodifying self".
    "To center this discussion, I want to be clear about my spiral of action, reflection, and reaction or in popular education terms, the dynamic relationship between theory and practice, or praxis. For many years I focused my academic and activist life around critiques of consumer culture and advertising. For me, this cultural matrix and its voice-piece tore at the fabric of what I considered loving, sustainable, democratic, and just social relations. Up until this year, I was articulate yet fractured in this critique and was able to use my Masters to look for new directions. I began to focus on how consumerism connects with local and global political struggles for human rights and also on the construction and privileges of my perspective. This examination included many readings, but also educational workshops in media and cultural literacy and several creative projects. The mixture of this reflection and action has helped reconnect my interest in consumer culture and advertising in ways I never could have imagined or learned second-hand. Rather than just thinking my way into new ways of living, I've tried to design a Project that encouraged me to start living my way into new ways of thinking. Rather than using popular education pedagogy to change the way I study advertising, it has changed me. This new knowledge helps me validate the possibility for personal development and the hope for social transformation."--Page 1.
    "The Cashtro Hop Project" Hip Hop music and an exploration of the construction of artistic self-identity
    "The Cashtro Hop Project" Hip Hop music and an exploration of the construction of artistic self-identity
    While Hip Hop culture has regularly been legitimized within academia as a social phenomenon worthy of scholarly attention (witness the growing number of studies and disciplines now taking Hip Hop as object for analysis), this is the first Hip Hop-themed project being completed within the academy. Indeed, academic and critical considerations of one's own Hip Hop-based musical production is a novel venture; this project, as a fusion of theory with practice, has thus been undertaken so as to occupy that gap. The paper's specific concern is with how (independent) Hip Hop recording artists work to construct their own selves and identity (as formed primarily through lyrical content); the aim here is to explore Hip Hop music and the construction of artistic self· presentation. I therefore went about the task of creating my own album - my own Hip Hop themed musical product - in order to place myself in the unique position to examine it critically as cultural artifact, as well as to write commentary and (self-)analyses concerning various aspects of (my) identity formation. The ensuing outlined tripartite theoretical framework is to serve as a model through which other rappers/academics may think about, discuss, and analyze their own musical output, their own identities, their own selves.
    "This is for fighting, this is for fun":  popular Hollywood combat (war) films from the first Gulf war to the present (1990-2015)
    "This is for fighting, this is for fun": popular Hollywood combat (war) films from the first Gulf war to the present (1990-2015)
    Hollywood has been making war movies since it began making movies. Widely credited as the first ‘Blockbuster,’ and one of the first films to establish Hollywood narrative techniques and conventions, D.W. Griffith’s 1915 film, Birth of A Nation, is an epic melodrama about the American Civil War ending with a literal marriage of the North and the South in the form of a young white heterosexual couple, solidifying the connection between war, families, and nation-building that has become the framework of the genre; hetero-nuclear families are the basis of the nation and war is a threat to these families, but ultimately also a critical component of nation-building/strengthening. These ideologies persist in contemporary combat films. The First Gulf War and those in Iraq and Afghanistan have had a major impact on this genre and this project investigates the (sometimes radical) shifts in representations of gender, sexuality, race/ethnicity, and nationality in popular Hollywood combat films made and released since the first Gulf War (1990) with a particular emphasis on more recent films (2005-2015) since these are the films which have received the least, if any, scholarly attention. Building on existing cultural, feminist, film, and postcolonial theory using a case study of selected popular Hollywood combat films and based primarily upon close textual analysis of the films themselves, this dissertation argues that these post-Cold War combat films are vital in creating and reinforcing cultural scripts about gender, sexuality, race/ethnicity, nationality, and war. This analysis adds to the field by identifying key cycles in the genre and arguing that, in fact, the ideologies of these films whether intentionally or not, reinforce the idea of a white, American, male-headed household as the norm to be protected, removing ‘Others’ from the frame, and implying that war is somehow natural, unending, and/or unavoidable, thereby creating a self-fulfilling prophesy wherein the more it happens, the more we seek to represent it, to gain mastery over it, the more natural and unavoidable it seems, and the more it continues to happen and seem normal and on and on into perpetuity.