This paper looks at the history of WBAP while examining how programming has changed from 1922-2014 and how WBAPs audience helped shape programming at the station. This paper reveals four formatting changes throughout the stations history and provides in-depth statistical analysis of how WBAPs audience changed during the stations 90 plus years of existence.

The ‘91 Roos is a sports documentary focused in Killeen, Texas. exploring the 1991 Killeen Kangaroos high school football team and their journey to their city's one and only state championship in football. Killeen is a small central Texas town that is directly adjacent and provides support to Ft Hood, one of the world's largest military bases. With the Persian Gulf War raging in 1991, soldiers that lived in Killeen were being sent off to fight, leaving the city almost like a ghost town. In October 1991, the Luby's Massacre occurred in Killeen, bringing the already depleted city further down by tragedy. At the time, this was the worst mass shooting in US history. This high school football team went on a fairy tale type of run during their 1991 season, resulting in winning a state title and bringing big hope back to a small town in need. Using direct interviews, narration and archival footage, this film provides an emotional yet inspirational look at a small town football team and their improbable season.

Access Points explores the different relationships that humans have to land, focusing on the various ways that the area known as the Wichita Mountains Wildlife Refuge is used, appreciated, and preserved by disparate groups. The natural beauty of this Wildlife Refuge and its striking appearance amidst encircling plains makes it a popular destination for many groups of people, including the local rock-climbing community and generations of indigenous peoples whose connection with this land is as deep as it is longstanding. While climbing organizations have long had to negotiate access and rules regarding climbing within the park, members of the Kiowa community negotiate a much different relationship to a natural area that is now managed by the United States government. These disparate voices, identities, and ways of thinking about land all impact the modern-day Wildlife Refuge in terms of its appearance, individuals' access to the land, and the conservation efforts happening there.

Bad Paper follows the lives of former military service members, who have received an other-than-honorable discharge, but also have service-connected post traumatic stress disorder (PTSD). Due to the "suck it up" culture of the military, many of these veterans would not report any psychological troubles in fear of being labeled "weak" and potentially affecting their promotions. With no outlet for their PTSD, drugs and alcohol became a way of "self-medicating," which led to their dismissal from the service. A dishonorable discharge, commonly called "bad paper," from the military disqualifies veterans from receiving help from the VA. The process to overturn this status is arduous and veterans must navigate the bureaucracy of the Veterans Affairs (VA) administration as well as the individual military branches with virtually no help from either.

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.

Black Reparations Film Project: Descendants of Slavery and Institutional Racism is a character driven film that sheds light on the consequences of slavery in the U.S. Through a personal narrative, the viewer comes to understand how these consequences support the argument for slavery reparations. The purpose of the film is to bridge the generational gap in awareness of reparation history. The film can be used to enlighten young Americans of all ethnicities to encourage them to find their purpose in this country, help build better race relations, and work towards building a true democracy.

Bright Mosaic is a 30-minute documentary about a comprehensive autism center for children with an organic and unconventional approach. The Bright Mosaic Autism Therapy Center's exceptional curriculum consists of a mix of Montessori practices, natural sciences, applied behavior analysis, occupational therapy, speech therapy, physical therapy, play therapy, music therapy, sensory integration, daily life skills and art. Bright Mosaic mixes observational and participatory styles in an effort to portray an exceptionally skilled and passionate team who fights a tough daily battle to prepare their children for the life ahead of them.

This thesis looks at how women journalists are now also digital influencers on Instagram. It analyzes the gendered expectations of women journalists that are also included on their professional Instagram accounts.

The Age of Trump witnessed the visible rise of intense culture wars and polarization in the United States. While culture wars are not new phenomena, the current iteration has digital media acting as new discursive structures and mediating battlegrounds for all sides of the cultural conflict. This project chronicles these online culture wars, demonstrating how within a neoliberal and postmodern socio-cultural condition, the rise of ambivalent, profit-driven digital technologies and platforms structure affect and mediate newly networked neo-reactionary populist (sub)cultural ideologies and discourses. The resulting online ecosystems afforded the digital formations of obscure reactionary subcultures (trolls, antifeminists, the alt-right, etc.) with particular personalized and affectively driven memetic communicative logics. These reactionary affective publics eventually began converging under perceived common ideological and social interests as online actions and reactionary discursive (re)formations and (re)networkings were catalyzed by (sub/cross)cultural conflicts and moments of sentimental activation. This led to the emergence of affectively charged and informally networked reactionary publics which began spilling out into the offline world alongside Trump's ascendancy to the White House. The increasing progressive reactions during the Trump Era also faced limitations in combatting reactionary politics due to structural dynamics of digital media and the larger culture war filtering of politics. …

Closer to Earth explores a Black midwestern family's generational spiritual connection to nature through the power of spiritual archiving, ancestral veneration, and oral storytelling.

Visual impairment/blindness is not often discussed in a media space, and the community is often left out and forgotten otherwise in the course of history. Through documentary filmmaking, Consider the View (La Vue) provides an artistic exploration of blindness by using the camera as optical power and other forms of art. Viewers experience a new perspective of what it means to be visually impaired.

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.

Creature from the Unconscious is a reflexive genre hybrid film that follows the process of the director's journey of navigating the process of self-acceptance and self-love in the wake of trauma.

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.

Deva Plus Dog is a look at the life of a teenage girl singularly devoted to the sport of dog agility. The film explores how relationships develop and evolve in the high stakes world of competition, and how an alternative lifestyle impacts a youth’s coming of age.

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.

Don't Frack With Denton chronicles the ground-breaking movement to ban hydraulic fracturing in the city of Denton, Texas by combining observational location shooting with extensive sit-down interviews and carefully negotiated subject-filmmaker relationships to create a safe and comfortable space for thoughtful reflection and criticism of a complex social movement who's activities span several years and many individuals. The result is a long-form documentary that is unapologetically in solidarity with this movement's goals while simultaneously maintaining enough editorial independence and critical distance to allow the activists themselves to honestly evaluate their decision-making, tactics and interpersonal relationships in ways that will provide insight and instruction to similar movements around the country and the world.

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.

This MFA graduate thesis explores the intersection of therapeutic photography, generational trauma, and Christian spirituality in promoting spiritual healing in disabled veterans diagnosed with post-traumatic stress disorder (PTSD). Drawing from personal experience, rigorous biblical training, and extensive research, I argue that incorporating faith-based practices and beliefs can complement existing PTSD support and enhance spiritual and mental well-being. Through the lens of generational trauma, the thesis analyzes the complex interplay between individual and collective trauma. It posits that the healing process is intrinsically linked to the restoration of the individual and community. I present a framework for therapeutic photography that incorporates Christian spiritual principles and offers practical guidelines for implementation in conjunction with therapeutic photography. The thesis concludes with a call to action for faith-based communities, mental health practitioners, and policymakers to recognize and address the spiritual and artistic therapeutic needs of disabled veterans with PTSD.

The Eviction is a film about the forced eviction of a large homeless encampment in Dallas. In an effort to understand the gravity over a month of filming I will capture the stories of people, events, and the trials of those who are trying to offer a hand up.

This thesis focuses on three fashion industry themed female friendship films: Pret-a-Porter/Ready to Wear (1994) by Robert Altman, The Devil Wears Prada (2006) by David Frankel, and The September Issue (2009) by R.J. Cutler. Female interpersonal relationships are complex – women often work to motivate, encourage and transform one another but can just as easily use tactics like intimidation, manipulation, and exploitation in order to save their own jobs and reputations. Through the lens of post-feminist theory, this thesis examines significant female interpersonal relationships in each film to illustrate how femininity is constructed and driven by consumer culture in the fashion industry themed films.

FLAT! immerses us into the life and mindset of a Flat-earther who eagerly evangelizes the discoveries he and other Flat-earthers claim to have made. With his car clad in flat-earth messages, he travels around the country provoking discussions with curious bystanders and debating scientists. While he thrives in this pursuit, it is not without its costs.

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 intention of this thesis is to identify and analyze the precise shift from an exploitative archetype to an empowered representation of women warriors, to identify the arena in which male and female characters are given equal agency in the context of war, and finally explore the key characteristics that make up an empowered female hero. This thesis also addresses the sociocultural nature of the warrior woman archetype as it pertains to the current role of women in the military. The films analyzed in this thesis are all post 9/11 films; a fact that links them culturally to the wars in Iraq and Afghanistan. In recent years, numerous milestones have been reached for women in the armed services, especially for those women in combat positions. For the first time in American history women are being recognized for their active role as soldiers in combat. Therefore, it is valid to consider the correlation between seeing women as military professionals, fighting alongside male soldiers in these films, and the cultural impact of female combat soldiers. This aspect of the thesis also imbues the female just-warrior archetype with a legitimate history, mythology, and current cultural reference; which is essential to the visibility of …