Barton and Charlie

The Burly Man: Masculinity and Homosociality in Barton Fink

by Sam Reimer

I explore the link between the development of masculinity and homosociality in Barton Fink. Through the titular character and his relationship with Charlie Meadows, I look at Barton’s construction and development of an idiosyncratic form of masculinity and how this is achieved through homosociality and male intimacy, looking at the progressive suggestions made towards gender theory and gender construction.

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Larry Quall's Bridge Footage

The Documentarian as Tourist: Travel and Representation in Documentary

by Merritt Mecham

Documentary film has long been associated with travel and culture. However, some historical examples of documentary have been problematic, leading to a denigration of the documentary ideals with their “outside looking in” sensibility. As film tourism becomes a rising field of interest, this portion of documentary history is in danger of repetition unless documentarians utilize the nobler ideas of documentary in order to cultivate a deeper understanding between people, filmmaker, and audience.

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Bella, Edward, and Jacob

Race Through Bella’s Eyes: Contending Racial Depictions in New Moon and Eclipse

by Sam Reimer

This paper looks at the racial depiction of Native Americans in the Twilight Saga, exploring the historic representations of Native Americans in Hollywood, construction and reinterpretation of vampire and werewolf lore, the hybridization of the romance and horror genre in the films, the role of Bella’s point of view, and how these factors reduce Native Americans to regressive stereotypes and promote white supremacy.

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Scarlet Johansson in Under the Skin

Empathetic Feminist Cinema: How Sex, Nudity, Mirrors, and Voyeurism Function to Subvert Scopophilic Expectations in Under the Skin

by Claire Asplund

This essay synthesizes Laura Mulvey and Tania Modleski’s feminist film theories to examine Jonathan Glazer’s 2013 film Under the Skin as a piece of feminist film that subverts audience expectations in order to indict the male gaze. This results in a discussion of the real dangers of scopophilia and an assertion that empathetic portrayals of the female experience are essential to cinema.

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