The Town Where Mickey Mouse Has Lived is a documentary video program in which people talk about themselves and the life of a small town. The town is known as the boyhood home of Walt Disney, which he recalled as the most charming place in his life. The interviews explore the personal perspectives of the people and why they stay in Marceline despite the fact that Disneyland, full of Disney's memories of Marceline, attracts people while the town has been obsolescent for a long time.

Post Time is a non-fiction video program depicting some of the careers found at North American horse race tracks. Through the use of videotaped footage taken at eight race tracks and three training farms, the horse racing industry's trainers, jockeys, owners and grooms are profiled in the world they call the backstretch. The video begins with a brief history of horse racing and the origins of thoroughbred horses followed by closer examinations of the economic and social experiences faced by the owners, trainers, jockeys, and grooms as they attempt to prepare horses for racing every week.

Martin Scorsese's films, GOODFELLAS and CASINO, and Quentin Tarantino's RESERVOIR DOGS and PULP FICTION are examined to determine if the crime film of the 1990s has become increasingly more in the style of film noir. The differences and similarities between the two crime films each director has either written or co-written in the 1990s are delineated to demonstrate this trend. Other crime films of the latter 1990s (SEVEN, THE USUAL SUSPECTS, and MULHOLLAND FALLS) are also examined to aid in defining the latest incarnation of the crime film as "Noir Modernist," a term that is demonstrated to be a more accurate description for the current crime films than B. Ruby Rich's, "Neo-Noir of the 1990s."

When the filmed version of The Last Temptation of Christ was released in the United States, it met with significant protests from conservative Christians who felt it was blasphemous. Using the controversy surrounding the film and its reception in Austin, Texas, this is a case study in censorship as a social process and in the cultural conflict it signifies. Certain societal factors must converge to create an art controversy. Through an examination of the film, the groups involved in the protest, and the social and political climate at the time, some of these factors are described. Imbedded in this controversy are the underlying tensions that permeate many modern cultural debates: shifting ideas of the sacred and the profane and definitions of moral authority.

Screenplay for animated feature film. Story and characters are based on a short novel, The Adventures of Hank the Cowdog. first in a series. This adaptation aims to translate the humor and unique dog-centered perspective of the original source into the medium of film. Hank the Cowdog, head of security on an isolated ranch, works undercover inside a pack of coyotes to solve a series of chicken murders. To solve the case, Hank defends his ranch, sheep and chickens from a devious and powerful coyote leader, Scraunch. With help from a variety of friends and a change in attitude, Hank saves the ranch. Screenplay places detective film conventions in an action-adventure cartoon format. Thesis includes notes on adaptation process.

This study reviews the changes in Taiwan's newspaper industry during its current period of transition. Contemporary newspaper development in Taiwan after the lifting of martial law in July 1987 is evaluated in relation to transformations in the newspaper marketplace, journalistic practices, labor relations, and freedom of expression. This study concludes that changes in Taiwan's newspaper business are closely related to changes in the country's political atmosphere. The lifting of the Ban of Newspaper brought freedoms for which journalists had fought for decades; however, journalistic quality has not improved at the same speed. Changes will continue in the journalism industry; whether it grows in a healthy way is a topic for future study.

This study is an examination of Lino Brocka's development as a filmmaker of the New Cinema of the Philippines. It provides a close textual analysis of two recent Brocka films, Macho Dancer (1988) and Fight for Us (1989) using a sociocultural approach to the study of the representation of aspects of social reality and their relationship to contemporary Philippine society. The study is divided into six chapters: Chapter I contains the introduction to the study, Chapter II traces the development of Philippine cinema in relation to Philippine socio-political history, Chapter III describes the New Cinema film movement in the Philippines, Chapter IV provides a biographical sketch of Lino Brocka in which the development of his critical attitude, notions of social reality, and significant works are discussed, Chapter V contains the film analyses, and Chapter VI contains the conclusions to the study.

From the television advertisements made by presidential candidates from 1952 to 1976, this study analyzed the 131 advertisements that contained women. The analysis used the following descriptors: Number of Women's Roles, Age, Occupation, Marital Status, Locale, Concerns, and Status Relative to the Candidate. The results indicate that women are most likely to be shown as physically present although not speaking, in the 18 to 30 age group, belonging to a non-business atmosphere yet outside the home, and of an unknown marital status, and will not be shown in the same frame as the candidate. Womens' images in these advertisements were most commonly associated with issues involving the cost of living, taxes, pro-Nixon, and social security.

The purpose of this research was to describe the relationship and to compare the programming of major Christian ministries during the first decade of Christian television. A historical perspective was the method used in identifying and explaining the events and activities that constituted Christian television from 1949 to 1959. The results of the research concluded that Christian television began at a time of social trauma, unrest, and confusion in America. Competition for a viewing audience was not a factor. Leading personalities presented themselves as independent thinkers who also saw themselves as "preachers" with a strong desire to succeed. Motivation was provided by a sense of "dominion" that emerged from the Great Awakenings within the churches of America that became a driving force in the first three decades of this century.