Browsing by Author "Chung, Hye Seung, committee member"
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Item Open AccessBlack like it never left: Black women and representation in contemporary broadcast television(Colorado State University. Libraries, 2023) Taylor, Kirstin, author; Marx, Nick, advisor; Chung, Hye Seung, committee member; Arthur, Tori, committee memberIt is imperative that we recognize that broadcast television is not dead, despite echoing declarations to the contrary, and that it can be a viable platform for presenting Black-led programs telling complex stories. In this project, I argue that current broadcast television shows are harnessing their industrial position and staple generic conventions to reorient depictions of Blackness on broadcast to more complexly and resonantly reflect lived Black experiences. It seems that these stories are being told not just on niche or fringe platforms catering to Black audiences, but also on long established and popular broadcast channels. This project is a limited survey of Black female representation on broadcast television comprised of three case studies: Fox's emergency procedural 9-1-1, The CW's HBCU set drama All American: Homecoming, and ABC's sitcom Abbott Elementary. Guiding this survey is a set of critical questions: First, how do these cases represent Black womanhood? Second, what are the industrial and creative contexts of these cases and how do they influence the texts? How do their creators, showrunners, writers, and actors work within the broadcast parameters and appropriate traditional conventions to display different iterations of Blackness? Finally, what new cultural meanings, if any, are the resulting representations generating? Item RestrictedGutland(Colorado State University. Libraries, 2023) Lear, Megan, author; Ausubel, Ramona, advisor; McConigley, Nina, advisor; Chung, Hye Seung, committee memberGutland is a novel that explores the narrator's self-reliance and search for identity as she cares for her partner's child and father in an isolated village. This novel is a work made of fifteen chapters, divided into two parts. The first part focuses on the narrator's straining relationship, struggles to integrate herself, and emotionally troubling duties of caring for someone else's child. This part also details the inner workings of closed-practice groups such as the Primitive Baptists, the hivemind mentality that comes from growing up in a secluded area, and the trials of gardening. The second part looks closely at the women around the narrator, who integrate her into their group of friends, the growing tensions between the narrator and her absent partner, and the bond growing between the narrator and the preacher, a dying man she takes care of. Item Open AccessProductive self-advocacy: how Kanye West and Kendrick Lamar communicate Black sovereignty(Colorado State University. Libraries, 2022) Sanon, Clarence, author; Marks, Nick, advisor; Chung, Hye Seung, committee member; Pippen, John, committee memberHip-hop culture has been commodified and sold internationally, but it has always been intertwined, intentionally or otherwise, with social change. This thesis seeks to complicate and reimagine the contemporary hip-hop moment. In contrast to scholarship that interrogates and investigates the 1990 and 2000 hip-hop landscape, this thesis moves to the contemporary; particularly, examining the possibility that Kanye West and Kendrick Lamar used their stardom to advocate messages of, what I call, productive self-advocacy. This new term seeks to articulate a shift in advocacy in artists and activists from singular individual civil rights leaders to many individual activists who collectively work together to solve their community's challenges. Productive self-advocacy moves from asking for a seat at the proverbial table to demanding that the Black community create its own. These artists deploy rhetorical strategies to encode messages that advocate for self-dependency and a departure from traditional appeals to the law as well as government agencies. Through this thesis, I hope to expand research on hip-hop and social movements to explore the new era of advocacy from artists and the public. Item Open AccessRacialization, femininity, motherhood and the Iron Throne: Game of Thrones as a high fantasy rejection of women of color(Colorado State University. Libraries, 2018) Bollinger-Deters, Aaunterria Treil, author; Black, Ray, advisor; Kim, Joon, committee member; Chung, Hye Seung, committee memberThis analysis dissects the historic preconceptions by which American television has erased and evaded race and racialized gender, sexuality and class distinctions within high fantasy fiction by dissociation, systemic neglect and negating artistic responsibility, much like American social reality. This investigation of high fantasy creative fiction alongside its historically inherited framework of hierarchal violent oppressions sets a tone through racialized caste, fetishized gender and sexuality. With the cult classic television series, Game of Thrones (2011-2019) as example, portrayals of white and nonwhite racial patterns as they define womanhood and motherhood are dichotomized through a new visual culture critical lens called the Colonizers Template. This methodological evaluation is addressed through a three-pronged specified study of influential areas: the creators of Game of Thrones as high fantasy creative contributors, the context of Game of Thrones as a racially preoccupied high fantasy subgenre narrative, and the true implications of Game of Thrones social impact and mirroring even as a high fantasy entertainment venture. Through this deconstruction it is argued that: a) mimicry concerning racialized historical patterns present as artistic integrity through the agendas of the artists themselves b) Game of Thrones is a valid exhibition of inclusivity and progressiveness c) and a contemporary sociopolitical outline of the cycle of historical oppressions has been established through these creators of fiction, idyllically reinforced by their creations and affirmed by the dominant white societal structure which idolizes and imitates these specific forms of fiction; creating a justified thematic/political symbiosis in which historical politics feed fiction and vice versa. Through a constructed six points of contention, the Colonizers Template unsympathetically scrutinizes white masculinist supremacist creative structure through cinematic manipulations, signifying direct patterns of behavior in both the real world and the fictive creations made to reflect it. This analysis is conducted on the premise that Daenerys Targaryen is the identified strategic implementer of this template, through which both Eurocentric and patriarchal politics are evident as part of a larger institutional design in favor of whiteness. As a foundation of the racial spectrum to which the Colonizers Template evaluates gender performativity, sexuality politics, and status; Daenerys is positioned as the anchoring embodiment of white femininity and is investigated in two opposingly distinct stages: her rise to power and her maintenance of that power, with her marriage, rape, pregnancy, and her absorption of masculinist stations held by her brothers, husband, and son as the keys that grant her dualistic accessibility to both white masculinist entitlements and nonwhite cultural claims. With Daenerys as the white idyllic heroine of authoritative entitlement, her oppositional characterization becomes by default, the "othered" women of color within the Game of Thrones narrative who are vigilantly deconstructed through ideologies of blackness and Black femininity; reflecting an explicit designation of racialized thematic spaces as one of hierarchal stratagems. Through the deflective white feminine representation exhibited by centric protagonist Daenerys, the creative contradiction of thematic construction in the women of color who are advantageously presented as navigating varying stages of sociopolitical rejection remain in direct conflict with Daenerys positionality in terms of motherhood, vengeance, and justice. As high fantasy extensions of cultural differences and racialized designations, the fictive boundaries within Game of Thrones indicate these differences between three distinct groups: the Rhoynar, the Andals, and the First Men, through which a critical cross-examination of the disparate presentation of women of color is made accessible through geographical location, familial paradigm, death and fetishization demonstrated by the distinct narratives of Elia Martell of Dorne, Talisa Maegyr of Volantis, Ellaria Sand of Dorne and Missandei of Naath as evidence of racial variances and patterned weaponization of creative fiction as deeply interloping sociopolitical reality. Item Open AccessThe New Atheist Movement in the blogosphere: burlesque and carnivalesque as rhetorical strategies in visual productions(Colorado State University. Libraries, 2013) Murti, Desideria Cempaka Wijaya, author; Anderson, Karrin Vasby, advisor; Chung, Hye Seung, committee member; Kasser, Jeff, committee memberThis thesis examines the visual production of the New Atheist Movement in the Blogosphere. I argue that the images of New Atheism use burlesque and carnivalesque as rhetorical strategies. In the public sphere, New Atheist movement use burlesque images to criticize the majority religion in the U.S. by critiquing the power dynamic between religion and humanity. The atheists also criticize the contemporary relevance of religious attitudes and offer an alternative perspective focusing on human empowerment, science, and technology. Meanwhile, the carnivalesque images function to uncover the problematic social discourse from the atheistic point of view and the alternative perspectives offered by atheism. The carnivalesque approach helps to smooth the promotion of the atheists' main premise, challenge the dominant premise, and desanctify hierarchy through laughter. The analysis on this paper is not only identifying burlesque and carnivalesque strategies of images in the blogosphere, but also to contribute to the understanding of how symbols function in religious discourse in the U.S. I conclude the project by examining that in atheists' (digital) enclaves, they build their subaltern identity and then expand into the broader public sphere, seeking points of connection between themselves and theists.