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ASSESSING THE IMPACT OF MOVIES UPON AN INDIVIDUAL'S IMAGE FORMATION CONCERNING A GIVEN DESTINATION
Title
ASSESSING THE IMPACT OF MOVIES UPON AN INDIVIDUAL'S IMAGE FORMATION CONCERNING A GIVEN DESTINATION.
Creator
Hahm, Jeeyeon, Upchurch, Randall, University of Central Florida
Abstract / Description
The process of watching a movie is a common way to be entertained in this day and age. There are multiple ways in which people can enjoy a movie ranging from the big screen at a commercial theater, on their home's television, or even in a car while driving. One outcome associated with watching a destination movie might be that the viewer will be compelled to visit or not the location portrayed in the movie. It is a primary assumption of this thesis that movies have the ability to create or...
Show moreThe process of watching a movie is a common way to be entertained in this day and age. There are multiple ways in which people can enjoy a movie ranging from the big screen at a commercial theater, on their home's television, or even in a car while driving. One outcome associated with watching a destination movie might be that the viewer will be compelled to visit or not the location portrayed in the movie. It is a primary assumption of this thesis that movies have the ability to create or change an individual's image of a destination by its portrayal within the motion picture. This study was conducted in an effort to examine this global phenomenon called movie tourism and contribute to the tourism literature. This study focused on determining the differences between pre and post measures resulting from watching a destination specific movie. The research method was a pretest-posttest experimental design conducted to a convenience sample of 247 hospitality management students enrolled in a major metropolitan university located in the southeastern portion of the United States. The research instrument was a pre and posttest questionnaire that included structured and unstructured questions in order to capture the complex destination image. The treatment between the pre and posttest was a destination specific movie. A 100% response rate was obtained from the pretest group and a 99.2% response rate from the posttest group. Results of the study revealed that: 1) certain perceived destination images were different before and after the movie; 2) level of interest in visiting the destination was not different before and after the movie; 3) destination image had a positive relationship with the level of interest in visiting the destination; and 4) certain audience characteristics had an impact on destination image and interest in visiting the location. Implications, limitations, and suggestions for future research are discussed in the final chapter.
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Date Issued
2004
Identifier
CFE0000117, ucf:46196
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0000117
Catholic Healing Masses: Intersections of Health and Healing in Yucat(&)#225;n
Title
Catholic Healing Masses: Intersections of Health and Healing in Yucat(&)#225;n.
Creator
Draper, Suzanne, Reyes-Foster, Beatriz, Mishtal, Joanna, Matejowsky, Ty, University of Central Florida
Abstract / Description
The conception of illness and healing in contemporary Mexican Catholic discourse highlights both particular and ubiquitous instances of a health experience perceived locally and widespread. Catholic healing masses are utilized as supplemental methods of individual health restoration coupled with Western medicinal techniques in Catholic dramas. Aside from the spiritual and religious significance of this practice, the use of healing masses as an additional means to achieving an optimal health...
Show moreThe conception of illness and healing in contemporary Mexican Catholic discourse highlights both particular and ubiquitous instances of a health experience perceived locally and widespread. Catholic healing masses are utilized as supplemental methods of individual health restoration coupled with Western medicinal techniques in Catholic dramas. Aside from the spiritual and religious significance of this practice, the use of healing masses as an additional means to achieving an optimal health status implies that something is lacking in current biomedical models. The purpose of my research is to explore the humanistic terms under which healing masses operate and translate these terms into a biomedical conversation towards enhanced secular medical care
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Date Issued
2014
Identifier
CFE0005484, ucf:50332
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0005484
"City of Superb Democracy:" The Emergence of Brooklyn's Cultural Identity During Cinema's Silent Era, 1893-1928.
Title
"City of Superb Democracy:" The Emergence of Brooklyn's Cultural Identity During Cinema's Silent Era, 1893-1928.
Creator
Morton, David, Foster, Amy, French, Scot, Zhang, Hong, University of Central Florida
Abstract / Description
This study discusses how motion picture spectatorship practices in Brooklyn developed separately from that of any other urban center in the United States between 1893 and 1928. Often overshadowed by Manhattan's glamorous cultural districts, Brooklyn's cultural arbiters adopted the motion picture as a means of asserting a sense of independence from the other New York boroughs. This argument is reinforced by focusing on the motion picture's ascendancy as one of the first forms of mass...
Show moreThis study discusses how motion picture spectatorship practices in Brooklyn developed separately from that of any other urban center in the United States between 1893 and 1928. Often overshadowed by Manhattan's glamorous cultural districts, Brooklyn's cultural arbiters adopted the motion picture as a means of asserting a sense of independence from the other New York boroughs. This argument is reinforced by focusing on the motion picture's ascendancy as one of the first forms of mass entertainment to be disseminated throughout New York City in congruence with the Borough of Brooklyn's rapid urbanization. In many significant areas Brooklyn's relationship with the motion picture was largely unique from anywhere else in New York. These differences are best illuminated through several key examples ranging from the manner in which Brooklyn's political and religious authorities enforced film censorship to discussing how the motion picture was exhibited and the way theaters proliferated throughout the borough Lastly this work will address the ways in which members of the Brooklyn community influenced the production practices of the films made at several Brooklyn-based film studios. Ultimately this work sets out to explain how an independent community was able to determine its own form of cultural expression through its relationship with mass entertainment.
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Date Issued
2014
Identifier
CFE0005217, ucf:50636
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0005217
Le Temps des Copains: Youth and the Making of Modern France in the Era of Decolonization, 1958-1968
Title
Le Temps des Copains: Youth and the Making of Modern France in the Era of Decolonization, 1958-1968.
Creator
Fedorka, Drew, Lyons, Amelia, Nair, Deepa, Crepeau, Richard, University of Central Florida
Abstract / Description
This thesis examines the popular y(&)#233;-y(&)#233; phenomenon and its role in articulating a vision of modern France in the aftermath of decolonization. Y(&)#233;-y(&)#233;, a teen-oriented and music-based popular culture that flourished from roughly 1962-1966, was in a unique position to define what it meant to be young in 1960s France. I argue that the y(&)#233;-y(&)#233; popular culture, through its definition of youth, provided an important cultural channel through which to articulate a...
Show moreThis thesis examines the popular y(&)#233;-y(&)#233; phenomenon and its role in articulating a vision of modern France in the aftermath of decolonization. Y(&)#233;-y(&)#233;, a teen-oriented and music-based popular culture that flourished from roughly 1962-1966, was in a unique position to define what it meant to be young in 1960s France. I argue that the y(&)#233;-y(&)#233; popular culture, through its definition of youth, provided an important cultural channel through which to articulate a modern French identity after the Algerian War (1954-1962). Using a combination of advertisements, articles, and sanitized depictions of teenage pop singers, the y(&)#233;-y(&)#233; popular culture constructed an idealized vision of adolescence that coupled a technologically-savvy and consumer-oriented outlook with a distinctly conservative, apolitical, and inclusive social stance. It reflected France's reorientation toward a particular technological and consumer modernity while simultaneously serving to obscure France's recent colonial past and the dubious legacy of imperialism. To contextualize y(&)#233;-y(&)#233;, this thesis begins by examining the blousons noirs (black jackets) and the societal anxieties that surrounded them in the early Fifth Republic (1958-1962). By tracking the abrupt shift from the blousons noirs to y(&)#233;-y(&)#233; in predominant media representations of youth, this thesis provides a unique vantage point with which to interpret dominant discourses of the Gaullist Fifth Republic and its attempt to reinvent France into a modernized and decolonized consumer republic. As the work suggests, it was not a coincidence that the optimistic y(&)#233;-y(&)#233; youth, unburdened by the tribulations of France's recent past, appeared in full force within months following the recognition of Algerian independence in 1962.
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Date Issued
2015
Identifier
CFE0005612, ucf:50200
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0005612
BEYOND POSTMODERN MARGINS: THEORIZING POSTFEMINIST CONSEQUENCES THROUGH POPULAR FEMALE REPRESENTATION
Title
BEYOND POSTMODERN MARGINS: THEORIZING POSTFEMINIST CONSEQUENCES THROUGH POPULAR FEMALE REPRESENTATION.
Creator
Mosher, Victoria, Campbell, James, University of Central Florida
Abstract / Description
In 1988, Linda Nicholson and Nancy Fraser published an article entitled "Social Criticism Without Philosophy: An Encounter Between Feminism and Postmodernism," arguing that this essay would provide a jumping point for discussion between feminisms and postmodernisms within academia. Within this essay, Nicholson and Fraser largely disavow a number of second wave feminist theories due to their essentialist and foundationalist underpinnings in favor of a set of postmodernist frameworks that might...
Show moreIn 1988, Linda Nicholson and Nancy Fraser published an article entitled "Social Criticism Without Philosophy: An Encounter Between Feminism and Postmodernism," arguing that this essay would provide a jumping point for discussion between feminisms and postmodernisms within academia. Within this essay, Nicholson and Fraser largely disavow a number of second wave feminist theories due to their essentialist and foundationalist underpinnings in favor of a set of postmodernist frameworks that might help feminist theorists overcome these epistemological impediments. A "postmodern feminism," Nicholson and Fraser claim, would become "the theoretical counterpart of a broader, richer, more complex, and multilayered solidarity, the sort of solidarity which is essential for overcoming the oppression of women" (35). Interpreting "Social Criticism" through a feminist cultural studies model in which texts are understood to be simultaneously constituted by and reflective of their own sociopolitical spaces, I argue that the construction of Nicholson and Fraser's "postmodern feminism" is, first and foremost, neither a postmodernist critique nor a means of overcoming the pitfalls of essentialism and foundationalism. Instead, the construction of this theoretical paradigm can be shown to be complicit with postfeminist discourses, wherein an implicitly patriarchal discourse of postmodernism is called upon to repair the deficiencies of feminisms, deficiencies that postmodernisms, in some ways, helped to bring into view. To provide a conceptual backing for these claims, I move toward an examination of mass culture, surveying the similarities between "Social Criticism" and the film What Women Want. Such a comparison, I suggest, facilitates a better understanding of how "Social Criticism" can be shown to be imbedded in a postfeminist narrative structure in which feminisms are relegated to a discursively subordinate gendered position in relation to postmodernisms. Finally, in what I find to be the most important aspect of this thesis' inquiry, I ask what it means to build a "broader, richer, more complex, and multilayered solidarity" by disavowing second wave feminisms in favor of postmodernisms. I conclude that, in using postmodernisms as a panacea for feminist theories, Nicholson and Fraser curtail what might have been a rigorous interrogation of and direct engagement with second wave feminist theories that would also attend to the phallogocentric underpinnings of postmodern theories. To underline the potential consequences, I turn to a set of televisual and filmic texts including Sex and the City, Desperate Housewives, and The Devil Wears Prada to gauge what their "postmodern feminism" might represent in practice rather than what it entails as philosophy. This juxtaposition of these two differently defined and yet overwhelmingly similar postmodern feminisms, I propose, underscores the potential that Nicholson and Fraser may have instituted a postmodern feminist methodology in which it is possible that feminisms might emerge not as discourses essential for "overcoming the oppression of women" but rather as discourses that can be critiqued into oblivion.
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Date Issued
2008
Identifier
CFE0002141, ucf:47518
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0002141