This thesis argues that textual and historical analysis of The Carol Burnett Show reveals that the program utilized slapstick, women's comedy and feminist humor to create comedic parodies of television commercials, melodramas and women's films, and soap operas. Their television commercial parodies reflect Second Wave feminist critiques of media advertising contemporary with the program. Comparison of the work of early feminist film theorists and media critics to the program's parodies of film and soap opera reveal an interest in texts that address a female audience and that The Carol Burnett Show was making similar critiques to feminist media scholars in the years before it became a field of inquiry.

"Thank You" Parts I and II is an experiment that attempts to break new ground in the field of anthropological cinema through the reflexive methodology and experience of myself. My establishment of a new theoretical film approach called meta-anthrochaomediacy and its evolution into radical autoethnographic mediation is explored throughout this thesis. I exercised my theory by producing and documenting a reflexive experience built on fostering emotional bonds and social relationships that provided interactivity and choice within an environment as a process of mediation for anthropological study. Part I features a physical installation I designed that exercised the transmission of memories shared with my familial table. Twelve individuals voluntarily experienced this process across 4 sessions in a single day where they interacted with the table, each other, and the memories of places that the table has lived in. The installation was primarily recorded with a 360 camera and subsequently established as qualitative data, as per my theoretical process, to be edited into a film object. Part II is a 58-minute multi-split-screen film that features my theoretical process in action as it expresses the crafting of emerging-in-real-time short term cultures through layers of reflexivity. I edited this film to test my theory …

This thesis examines the various "signature" threads that are present within the "oeuvre" of the Hollywood filmmaker Adrian Lyne. The goal of this thesis is to showcase both how and why Lyne can be thought of as an auteur and to open up his films to new and previously unexplored meanings. Lyne's eight feature films are analyzed in-depth individually and in comparison to one another from a variety of theoretical frameworks and points of focus in each of the body chapters.