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From Splicing To Dicing: Film Sound Design Goes Digital In The 1990s
No full textThe common perception that sound design is a subset of postproduction sound, and that most film sound professionals are more technicians than artists, is an assumption that leads to erroneous conclusions about the nature of film sound as a component of filmmaking. Specific sound designers have been elevated to celebrity status while other film sound professionals remain unknown. Additionally, the computerization of postproduction sound contributes to the misconception that these professionals are workstation operators who merely construct film soundtracks from sound libraries and/or elements designed by the main sound designer. In the 1990s, the initial transition from analogue to digital postproduction sound practices began in motion pictures. The three major American film sound communities—Hollywood, the San Francisco Bay Area, and New York—had developed unique approaches to sound design largely due to cultural, labor, and economic differences between the three cities. The three communities worked from different historical contexts, within different union regulations, and were subject to different economic structures. These differences predisposed the three geographical sound communities to different workflows and attitudes toward sound design. By examining three case studies of award-winning soundtracks from the three regions—Barton Fink (1991), Bram Stoker’s Dracula (1992), and The English Patient (1996)—it becomes clear that the three communities, when confronted with the initial technological changes of the 1990s, experienced similar challenges with the inelegant transition from analogue to digital. However, their cultural and structural labor differences governed different results. Rather than define the 1990s as an era of technological determinism—which would be a superficial reading of the era—it is an era best understood as one in which sound professionals became more viable as artists, collaborated in sound design authorship, and influenced this digital transition to better accommodate their needs and desires in their work.Doctor of Philosophy (PhD)Communicatio
What’s the point? Unexpected participant responses in a value-directed prospective memory task
No full textAlive in the Glamour Pit
No full textAlive in the Glamour Pit is a collection of poems concerning the unraveling and exploration of genderqueer and transgender identities, especially as they relate to queer romantic and sexual relationships. It’s also a book about the dissonance between the internal and external self which often comes from gender dysphoria; because of this, capitalism is an inescapable subject that often worms its way into the poems, particularly focusing on the ways in which capitalism informs, affects, restricts, and corrupts our perceptions of gender and sexuality within American culture, especially white American culture.Master of Fine Arts (MFA)Englis
The Boy in the Tunnel
No full textThe Boy in the Tunnel is a domestic coming-of-age novel told from three alternating perspectives. It is about two white teenage girls who cover up the accidental death of their black friend in Atlanta during the summer of 1994. The novel explored the insidious nature of racial prejudice and the many ways in which Americans deny responsibility for wrongdoing—both contemporary and historical. It also explores the intense nature of female teenage friendships and the harsh realities of the adult world in comparison with the relative simplicity of childhood.Doctor of Philosophy (PhD)Englis
Wayfaring
No full textThe poems in Wayfaring, along with its critical introduction, will explore the destruction that results from human civilization’s obsession with eliminating the wild. It will address the need to form, in Marin Buber’s terms, an I/Thou relationship with nature rather than an I/It relationship. The pastoral tradition has some influence on the poems. However, none of the poems will technically be true pastorals because my aims aren’t to celebrate a simpler way of life or to call the world back to some idealized nature/human relationship that never existed. My aims are to create moments that reveal the illusion of the civilized/wild boundary, which I hope can create brief dramas of illumination. Inherent in this is also a historical perspective, one that explores marginalization of both race and class from an eco-justice perspective. Eco-justice is the concept that environmental destruction of a habitat is directly linked to the value placed on the populations, either human or otherwise, living in those habitats. For example, a University of Michigan study has shown that most landfills in the U.S. are located in poor and minority communities. Another example is my home city of Philadelphia. A great deal of money and effort has been put into “greening” the city. Yet, this greening has been mostly focused on center city and other areas being gentrified by upper income professionals. The neighborhoods where the poorest live are still as barren of greenery as they were in decades past. It could be argued, then, that a great deal of the greening movement has been merely aesthetic rather than comprehensive. It makes the important and wealthiest places look good, but does little for the overall populace or environment. The introduction to the manuscript will be a critical analysis of English language poetry through a political and ecocritical lens.Doctor of Philosophy (PhD)Englis
Saving Face
No full textABSTRACT
Saving Face is an exhibition of portrait imagery of famous or infamous figures created through drawing, painting, writing, and assemblage. It is a formal exploration of portraiture that also attempts to reconsider cultural personas by presenting them in new form. The act of creating art work through multiple approaches presents different modes of expression, potentially raising additional interpretations of the subject. Often, the public images formed of these subjects are based on singular events portrayed by the power of mass media. Saving Face is an attempt to artistically question these narrow and limited viewpoints, and raise considerations that may differ from mass perception. These alternative forms are intended to create a space for expanded perception of the subjects.Master of Fine Arts (MFA)Art and Desig
The Special Artist
No full textThis thesis is comprised of a collection of stories concerning big-shot morticians and their futile quest for a perfect flute made from a pelican bone.Master of Fine Arts (MFA)Englis
God Made the Apples, We Made the Bites
No full textThe poems in God Made the Apples, We Made the Bites explore resilience, love, and even celebration and wonder in the face of physical and psychological trauma of the individual, the family, and various communities (regional, religious, national, etc.). Grounded in trauma theory and neuroimaging, the poems also visit distortion, impermanence, time as a relative and unreliable human construct, troubled attempts to authenticate memory, and the paradoxical persistence of memories, symbols, relationships, and the self, even as they disintegrate.Doctor of Philosophy (PhD)Englis
Brownian Motion
No full textBrownian Motion collects original poetry written during my time as a Ph.D. graduate student in the English Department at Georgia State University, with a critical introduction that explores some of the influences I have found to be most meaningful in relation to my own work.Doctor of Philosophy (PhD)Englis