Hauntology Man, a 48-minute documentary, follows former UNT Professor, Dr. Shaun Treat, as he leads a walking ghost tour of downtown Denton, Texas. As the expedition moves from storefront to storefront, each stop elicits a new tale. But, as Dr. Treat points out, the uncertainties of history are the real ghosts. That is, rather than simply presenting a "haunted history" of Denton, it's more accurate to say this movie's center resides at the precipice of a "haunting history." Not all ghost stories need spectres. Sometimes not knowing is ghost enough.

This thesis illustrates how Melodrama and the melodramatic mode have been adapted within contemporary cinema as both a means of commenting on prior LGBTQI representation, and of exposing mainstream audiences to the issues still faced by many within this spectrum. Through my analyses of Carol (2015), Brokeback Mountain (2005), and A Single Man (2009), I examine how filmmakers have drawn on Melodrama as both an aesthetic form, and as a reference to the broader field of generic history and criticism which ground it as a subversive form of societal critique. By focusing specifically on how these three films portray ideological issues of gender, stereotyping, parenthood, aging, and personal shame, my thesis argues that these films are making a commentary on the damaging effects of these discourses on broader society. I also simultaneously question whether the Period Melodrama as a genre can ever fully escape the conservative nature of this form, as well as the implications of continuing to portray those on the LGBTQI spectrum as victims.

The Godzilla media franchise is one of the longest running media franchises, which means the character himself has gone through many changes throughout the years. However, in American pop culture, the characters of Godzilla is perceived as a hero, a friend of humanity and defender of Earth. This reputation comes from the Showa Era, where Godzilla often fought on the side of humanity, rather than trying to destroy them as depicted in the original Gojira. In recent years, Toho, Godzilla's corporate owners, have been steering the King of the Monsters back into the villain role. Despite this tone shift by Godzilla's owners, American Godzilla paratexts still generally depict Godzilla as a hero. These depictions of Godzilla are used to maintain his status as a family friendly heritage brand and keep a door open for parents to introduce their children to the brand. Such a strategy allows Godzilla to survive into the modern day as an international powerhouse franchise.

Her Name Was is an examination of the oppression of transgender people in a society that is built on the nominalization of cisgender people, those who gender matchers their sex assigned at birth, and how this oppression lends itself to violence. In the summer of 2015, the body of Shade Schuler, an African American transgender woman, was found in a field outside of Dallas, Texas. Ms. Shade is part of an alarming epidemic of escalating levels of targeted violence against the transgender community. This documentary pulls back the curtain as it captures the feelings and struggles of the transgender community as they attempt to navigate and survive in a cis dominating society.

"Project Reformation" presents the process of change Amanda and Robert Bowen went through as they came to recognize Holy Spirit, the part of Trinity that was sent after the death of Jesus (John 15:26). The documentary combines various filming techniques such as observational footage, reenactments, interviews, and CGI to convey the story. This film captures the walk Robert and Amanda took as they re-examine their past, progressing through a series of supernatural encounters into a recognition of purpose and plan behind the events and experiences. While looking back on this journey, the director seeks to reveal the truth that Holy Spirit is in fact "alive and well," and walks with individuals in their daily lives by sharing how the "gifts" of miracles, healing, visions and prophecy are active even in today's age. In addition, the director desires to reveal the specific message this couple has received through this process: Not to only recognize Holy Spirit, but to reveal the "why" He is now making Himself known in these ways when many would say He has been silent for at least a generation: For reconciliation and restoration, leading to Reformation through Spiritual Healing in Family Ties (Reformation.SHIFT).

Eggplant Emoji is a documentary film that reveals a range of feminist perspectives on dick pics, sexting and online sexual harassment. Through intimate and hilarious interviews with women between the ages of 22 and 35, the film harnesses a collective voice that speaks back to the large and small ways patriarchy wields power in modern spaces, especially through sending unsolicited dick pics. By intertwining the testimonies of a dynamic group of female storytellers sitting amongst their close friends, the film provides candid and diverse commentary on this unique moment we are in, where the lines between private and public, online and offline are increasingly blurred. Until there are greater consequences, whether legal, social or otherwise, for men disrespecting women's choices and personal space, the domain of sexting is in a self-policing state and women are left to expend emotional labor to let men know why what they sent is unwanted or violating. Ultimately, the subjects' testimonials coalesce to provide suggestions for respectful, consensual sexting practices and fill in the gaps where sex education often neglects the importance of consent and communication altogether.

Texas Pararnormalists mixes participatory and observational styles in an effort to portray a small community of paranormal practitioners who live and work in and around North Texas. These practitioners include psychics, ghost investigators, and other enthusiasts and seekers of the spirit world. Through the documentation of their combined perspectives, Texas Paranormalists renders a portrait of a community of outsiders with a shared belief system and an unshakeable passion for reaching out into the unknown.

489 Days is an animated documentary about the harrowing experiences of Egyptian-American Mohamed Soltan, who survived 16 months of hunger strike in an Egyptian prison. Caught up in the political turmoil which followed the Arab Spring uprisings, Soltan was unjustly incarcerated between August 2013 and May 2015, when the United States government intervened to release him weeks after an Egyptian court sentenced him to life in prison. The film is also the larger story of an estimated 60,000 political detainees currently held in Egypt without due process, and in violation of local and international human rights conventions.

This thesis provides an overview of the various ways in which select marginalized identities are represented within the twenty-first century American musical film. The first intention of this thesis is to identify, define, and organize the different subgenres that appear within the twenty-first century iterations of the musical film. The second, and principal, intention of this thesis is to explore contemporary representations of African-Americans, women, and queerness throughout the defined subgenres. Within this thesis, key films are analyzed from within each subgenre to understand these textual representations.

Joe Phillips, born in London to two American psychologists, worked for almost a decade as a solo motorcycle response unit in London before making the life-altering decision to change his path. Joe sold all of his belongings and purchased a traditional Red Routemaster double-decker bus to live and travel on in the United States. After the year-long bus journey, Joe chose to stay in the United States and purchased 22 acres of land in Coldspring, Texas where he is building his eco-paradise.

Many evangelical Christians distance themselves from the mainstream commercial culture, because they perceive mainstream media and popular culture to promulgate immoral messages through representations such as sex and violence. This disconnect from Hollywood have made evangelicals a tough audience to market. Sony, however, has been able to connect with the evangelical market by producing a line of contemporary Christian films through their in-house division Affirm Films. By prioritizing the narratives of their films Heaven is for Real, War Room, and Miracles From Heaven to focus on contemporary Christian characters, conflicts, and settings, Sony is able to attract the evangelical audience with films that align with their conservative belief system.

Tales of My Cities is a poetic observation of life in the cities of Hyderabad and Secunderabad, India. The documentary is an intimate first-person exploration of the culture in these cities. The viewer should find a surreal peace in the life and atmosphere of the cities where life extends from centuries old traditions to the current hi-tech pace of life.

The trope of the queer cannibal recurs throughout fiction as well as film and television. While literature scholars such as David Bergman and Caleb Crain have written about this figure in American literature, the queer cannibal remains unstudied in the realm of media studies. This thesis analyzes six media texts that feature queer cannibals: Hannibal (2013-2015), Ravenous (1999), The Terror (2018), Yellowjackets (2021-), Raw (2016), and Bones and All (2022). Through these analyses, this thesis establishes a genre termed "queer cannibal texts." These texts function on two different levels: they include a cannibal character who is or can be read as queer, and they in some way cannibalize and queer an existing story or societal script. The presence of a queer cannibal character often signals that the work itself is a queer cannibal text. These texts are built on an awareness of existing power structures and narratives. By cannibalizing these narratives—whether they be a fictional narrative that is being adapted, or societal narratives of white supremacy, heteronormativity, and so on—and interrogating them from a queer perspective, queer cannibal texts create reparative narratives that speak from the margins. Queer cannibal characters act as a textual manifestation of this framework, providing a …

The Best Medicine is an animated documentary that explores the true stories behind the live performances of stand-up comedians. The film juxtaposes live stand-up performances with candid interview footage combined with animation and illustration. Three subjects– Michael Burd, Casey Stoddard, and Jacob Kubon– discuss alcoholism, childhood abuse, and sexual anxiety, respectively. Their candid, intimate interviews reveal personal information, creating a new context with which to understand live stand-up comedy performance. This illustrates themes of finding humor in dark or painful circumstances and the cathartic nature writing and performance.

During this time of interest and uncertainty in immigration, a foreigner seeking an education, home, and career wonders how welcoming America really is. This documentary film focuses on how the organization known as World Life is involved in helping international students in terms of language, accommodation, and religion. It follows an organization that is willing to open up and welcome them into the community.

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.

Three individuals prepare themselves to perform unique talents on a live stage, proving to themselves and others that they are far more capable than they imagined.

Lisa Markley, a.k.a. "Miz Markley", is a genuinely happy person even if she is not particularly financially successful as a musician. In an effort to validate my own choices as an artist, I chose to follow her. What was intended to be a portrait of a working musician, becomes instead a feminist musical essay film about the transformative power of art making.

The intention of this thesis is to analyze the representations of masculinity in the anime series Dragon Ball Z as it aired on Cartoon Network's programming block Toonami, specifically the nature in which they were framed and how oppositional interpretations in the fandom became prevalent as a result. The series emphasizes the evolution of its central characters Goku, Vegeta, and Gohan into performing a sensitive masculinity, but there are a prevalence of images in the series that discredit this. Similarly, the way the series was advertised on Toonami placed emphasis on images of superficial violence and reinforced the masculinity that the series was attempting to move beyond. Understanding the ways fans have interpreted Dragon Ball Z on Toonami helps reveal that there is much more to a media text's influence than its themes and representations of gender.

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.

The intention of this thesis is to analyze the figure of the post 9/11 Westerner as a modern character created from the preexisting archetype of the classic Westerner. 3:10 to Yuma (dir. James Mangold), The Assassination of Jesse James by the Coward Robert Ford (dir. Andrew Dominik), and There Will Be Blood (dir. Paul Thomas Anderson) were released in 2007 and featured post 9/11 Westerners dealing with issues of fatherhood, demonstrating the prevalence of this figure within the modern western genre. Fatherhood becomes the prism through which these characters are depicted, which becomes the main source of their anxiety. The events of 9/11 contributed to a fracture of the western myth established by the classic postwar western that results in the post 9/11 Westerner attempting to reclaim a similar mythic status. The post 9/11 Westerner becomes an inversion of the classic Westerner seen through his insecure masculinity and ultimate failure to live up to his own imagined ideals.

Mineola is a poetic, observational, immersive documentary centered in the town of Mineola, Texas. The film provides an intimate, first person perspective of different locations in the town as well as underlying subversive beliefs and traditions. The film’s authoritative perspective guides the viewer not only in a direction of observation but personal connection to nostalgia of small communities.

The intention of this thesis is to identify and analyze the cat woman archetype as a contemporary extension of the transgressive witch archetype, which rampantly appears over the course of cinema history, working as a signifier of a patriarchal society's fear of autonomous and subversive women. The character of Catwoman is the ultimate representation for this archetype on grounds of her visibility, longevity, and ability to return again and again. More importantly, Catwoman and her sisterhood of cat women work against male creators as a means of female empowerment through trickery. Within this thesis, key films of varying genres are drawn from throughout cinema history and analyzed in order to demonstrate the intertextual network of characters that make up the cat woman archetype, and the importance of the Catwoman character in her many forms.

Doble Identidad conveys my experience as someone who struggles with their cultural identity. Through the expository modes of self-reflexivity, participatory, experimental, and poetics, the film displays the factors that molded my cultural identity. My childhood memories and interactions with my loved ones help me tell the story of how my cultural identity has and continues to leave me with feelings of inadequacy of not being Mexican or American enough.