Theses and Dissertations from UMD

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New submissions to the thesis/dissertation collections are added automatically as they are received from the Graduate School. Currently, the Graduate School deposits all theses and dissertations from a given semester after the official graduation date. This means that there may be up to a 4 month delay in the appearance of a give thesis/dissertation in DRUM

More information is available at Theses and Dissertations at University of Maryland Libraries.

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    Insect Politics: Presidential Optics and the Promises of Manly Monsters in 1980s Horror Film
    (2023) Santos, James Nolan; Giovacchini, Saverio; History; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
    In their own terms, the intellectual and political spheres of the American 1980s spoke on conversations on gender through human bodies. Feminist theorist Sandy Stone wrote the foundational text for transgender studies in 1987 at the height of the Reagan Administration, which was defined by its own masculine politics. Between Jimmy Carter and Ronald Reagan, their White House Office of Communications staffers were tasked with upholding this image of masculinity, specifically upholding the physical bodies of men, going against 1980s feminist theorists that upheld binary views on gender. Horror filmmakers in Hollywood, however, more closely aligned with feminist thought regarding the flexibility of gender, and like the White House Office of Communications, used the bodies of characters onscreen to convey their ideas. This thesis is a comparative history of Washington and Hollywood in the 1980s, using the psychoanalytic framework of Julia Kristeva’s abject as a means to look beyond the gendered boundaries set by Washington and seeing how those same boundaries were manipulated by Hollywood.
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    WORLD WAR II AND U.S. CINEMA: RACE, NATION, AND REMEMBRANCE IN POSTWAR FILM, 1945-1978
    (2011) Chester, Robert Keith; Gerstle, Gary; American Studies; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
    This dissertation interrogates the meanings retrospectively imposed upon World War II in U.S. motion pictures released between 1945 and the mid-1970s. Focusing on combat films and images of veterans in postwar settings, I trace representations of World War II between war's end and the War in Vietnam, charting two distinct yet overlapping trajectories pivotal to the construction of U.S. identity in postwar cinema. The first is the connotations attached to U.S. ethnoracial relations - the presence and absence of a multiethnic, sometimes multiracial soldiery set against the hegemony of U.S. whiteness - in depictions of the war and its aftermath. The second is Hollywood's representation (and erasure) of the contributions of the wartime Allies and the ways in which such images engaged with and negotiated postwar international relations. Contrary to notions of a "good war" untainted by ambiguity or dissent, I argue that World War II gave rise to a conflicted cluster of postwar meanings. At times, notably in the early postwar period, the war served as a progressive summons to racial reform. At other times, the war was inscribed as a historical moment in which U.S. racism was either nonexistent or was laid permanently to rest. In regard to the Allies, I locate a Hollywood dialectic between internationalist and unilateralist remembrances. On one hand, narratives of the U.S. as the dominant wartime power affirmed the nation's benevolence and might, attesting to the United States' right to dictate the terms of postwar international politics. On the other, progressive filmmakers used images of the Allies to challenge postwar U.S.-centrism and bemoan the Cold War nation's military and economic mismanagement of international relations. Emphasizing the contested character of the war's cinematic image, the dissertation recuperates a tradition of dissent, complicating our understanding of World War II remembrance and postwar Hollywood history. The project also considers the relationship between the Department of Defense (DoD) Pictorial Division - the military's liaison with Hollywood - and the film industry. Drawing on DoD records, I show how the postwar state influenced representations of racial diversity, and how the military shaped images of the U.S. in interaction with its wartime Allies.