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2018 Screen Studies Thesis

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