Slackers, slashers and sticklers : Hollywood films and audience reception /

This thesis examines the processes through which identity is acquired and the processes that Hollywood :films employ to facilitate audience identification in order to determine the extent to which individuality is possible within postmodem society. Opposing views of identity formation are considered: on the one hand, that of the Frankfurt School which envisions the mass audience controlled by the culture industry and on the other, that of John Fiske which places control in the hands of the individual. The thesis takes a mediating approach, conceding that while the mass media do provide and influence identity formation, individuals can and do decode a variety of meanings from the material made available to them in accordance with the text's use-value in relation to the individual's circumstances. The analysis conducted in this thesis operates on the assumption that audiences acquire identity components in exchange for paying to see a particular film. Reality Bites (Ben Stiller 1994) and Scream (Wes Craven 1996) are analyzed as examples of mainstream 1990s films whose material circumstances encourage audience identification and whose popularity suggest that audiences did indeed identify with them. The Royal Tenenbaums (Wes Anderson 2001) is considered for its art film sensibilities and is examined in order to determine to what extent this film can be considered a counter example. The analysis consists of a combination of textual analysis and reception study in an attempt to avoid the problems associated with each approach when employed alone. My interpretation of the filmmakers' and marketers' messages will be compared with online reviews posted by film viewers to determine how audiences received and made use of the material available to them. Viewer-posted reviews, both unsolicited and unrestricted, as found online, will be consulted and will represent a segment of the popular audience for the three films to be analyzed.

The Midnight express phenomenon : a historical materialist approach to the reception of the film Midnight express /

This thesis examines the Midnight Express phenomenon focusing on the film's reception by audiences in Europe, North America, and Turkey between 1978-2003. Using and enhancing the "historical materialist approach" to film reception developed by Janet Staiger, the thesis considers the historical determinants of the film's nationally and culturally differential readings in different periods and of the transformations in those readings. The thesis argues that while Midnight Express was most likely read in the late 1970s as an attempt to reaffirm American social identity by projecting Turks as an instance of the negative Other, there has been an important shift in the reception of the film in the West during the 1990s due to the changes in the discursive contexts in which the film has been circulating. One does not observe any specific reference to Turkish prisons as a part of the issue of human rights violations in Turkey in the initial reception of the film by European and American critics, whereas these issues appear to be important constituents of a particular reception of the film in the West in the present. The thesis explains this shift by pointing to the constitution of a particular discourse on human rights violations in Turkey after 1980, and especially throughout the 1990s, which has become a part of the discursive repertoires of the Western audience. Therefore, the thesis argues that today, Midnight Express functions as a more legitimate political statement about Turkey in the eyes of some Western audiences than it had been in the 1970s. On the other hand, parallel to the increasing desire of Turkey to connect itself to the West, particularly to become a member of the European Union, one observes an immense increase in the belief in and defense against the negative effects of Midnight Express on Turkey's international representation since the 1990s. The historical and current discourses that audiences, both in Turkey and abroad, bring into play suggest that these audiences engage with Midnight Express by assuming or denying not only the subject positions constructed by the film text but also certain history-specific extra-filmic subject positions produced by other social and discursive formations.

Emptying the bell jar: an exploration of adolescent responses to a women's literature unit /

This study examines adolescent student responses to a women's literature unit taught within a grade 12 Writer's Craft course. Current research (Gilligan, 1989, Pipher, 1994 & Slack, 1999) suggests that there is a great under-representation of female authors in the high school literature curriculum. The use of women's literature may draw attention to important literary figures who are historically overlooked within the curriculum. It gives voice to a marginalized group and presents students with alternative subjects and heroes. It encourages students to develop a critical perspective and reevaluate assumptions about institutions, ideologies, language and culture. It also allows me, as a teacher, to reflect on my own teaching practices and explore alternate feminist pedagogical principles and teaching styles encouraging multiplicity of voices, deconstruction of power relations, and alternative assessment tools within the classroom. As an educator, it is important for me to teach curriculum that is relevant and meaningful to students and help them become critical, self-reflective thinkers. It is also important for me to assist students in their exploration of self and encourage them to expand their awareness of historical, social and global issues. Sylvia Plath's (1963) The belljar is used as the primary text taught within this unit. In this novel, the bell jar is a central image that signifies entrapment and isolation. "To the person in the bell jar, blank and stopped as a dead body, the world itself is the bad dream"(p.l 54). As a metaphor, the bell jar resonates with young readers in a variety of ways.

Decreased motor unit firing rate in the potentiated tibialis anterior in humans

With repeated activity, force production, rate of force production, and relaxation time are impaired. These are characteristics ofa fatigued muscle (Vandenboom, 2004). However, brief bouts of near maximal to maximal activity results in the increased ability of the muscle to generate force, termed post activation potentiation (P AP)(V andervoort et aI., 1983). The purpose of the present study was to characterize motor unit firing rate (MUFR) in the unfatigued, potentiated tibialis anterior (TA). Using a quadrifilar needle electrode, MUFR was measured during a 5s 50% MVC in which the TA was either potentiated or unpotentiated; monopolar electrodes measured surface parameters. A lOs MVC was used to potentiate the muscle. Firing rate decreased significantly from 20.15±2.9Opps to 18.27±2.99pps, while mean power frequency decreased significantly from 60. 13±7.75 Hz to 53.62±8.56 Hz. No change in root mean square (RMS) was observed. Therefore, in the present study, MUFR decreases in response to a potentiated TA.

Illustration - Unit no. 9 File no. 2-R1-H21.4

An illustration dated 10 November 1948 of Unit No. 9. The description reads "Sketch Showing Field Notes taken before unit dismantled Nov. 1948 - Runner and shaft were hanging from the thrust bearing when these measurements were taken. The thrust bearing was 3/32" thinner than a full size bearing."

Photograph - Unit 11 Runner Rankine Station January 1959

A photograph of Unit 11 Runner at Rankine Station (5901-2105).

HOEK UNIT C (Y)

Light brown sediment with mainly small clasts. The clast shape ranges from sub-angular to sub-rounded. Lineations are abundant throughout the sample. Edge-to-edge grain crushing, as well as crushed grains, can also be seen.

HOEK UNIT C (Z) B3

Light brown sediment with clasts ranging from small to medium in size. The clast shape ranges from sub-angular to rounded. Lineations and edge-to-edge grain crushing can mainly be seen in this sample. There are also a few examples of grain stacking and crushed grains.

HOEK UNIT C 81

Light brown sediment with clast sizes ranging from small to medium. Clast shape ranges from sub-angular to sub-rounded. Lineations are common throughout the sample. Minor amounts of edge-to-edge grain crushing can also be seen.