Feirstein Class of 2018
Screen Studies Thesis
Frances Arpaia
A Trans With a Movie Camera: A Cine-Essay
Dominic Clarke
I Must Confess: Curt McDowell and the Essay-Film
Max Frazier
Outraging Ourselves to Death Political Discourse in the Online Era
Eliecer Gutierrez-Gaspar
Neo-Lumière Cinemas: Atavism, Modernity, and Hauntology
Kayinde Harris
Reel Revolutionaries: The Cultural Phenomena of African American Cinema in the 1990s
Austin Jung
Through the Lens of Chineseness: Diasporic Identity in The Wedding Banquet (Ang Lee, 1993) and Happy Together (Wong Kar-wai, 1997)
Dave Park
Tape and the Animated Loop: Narrative and Aesthetic Recursion in 20th Century Japanese Video
Dan Smith
“Please Don’t Sue Us; We Don’t Have Any Money!”: Spider-Man Fan Films and Their Worth to the Marvel Cinematic Universe
Viktoriia Vanina
The Roots of Surrealism in the Works of David Lynch
A Trans With a Movie Camera: A Cine-Essay
—Frances Arpaia
I Must Confess: Curt McDowell and the Essay-Film
—Dominic Clarke
Outraging Ourselves to Death Political Discourse in the Online Era
—Max Frazier
Neo-Lumière Cinemas: Atavism, Modernity, and Hauntology
—Eliecer Gutierrez-Gaspar
Reel Revolutionaries: The Cultural Phenomena of African American Cinema in the 1990s
—Kayinde Harris
Through the Lens of Chineseness: Diasporic Identity in The Wedding Banquet (Ang Lee, 1993) and Happy Together (Wong Kar-wai, 1997)
—Austin Jung
Tape and the Animated Loop: Narrative and Aesthetic Recursion in 20th Century Japanese Video
—Dave Park
“Please Don’t Sue Us; We Don’t Have Any Money!”: Spider-Man Fan Films and Their Worth to the Marvel Cinematic Universe
—Dan Smith
The Roots of Surrealism in the Works of David Lynch
—Viktoriia Vanina