The Problem of Doping

In this Essay, we examine Professor Michael J. Sandel and Judge Richard A. Posner\u27s thoughts on how to draw the line between substances and techniques that are fair game and those that constitute doping; whether there is a difference between sport and spectacle; and the nature of the public’s interest in sport as an institution and in doping as a practice that risks its integrity. Although we do not agree with all of their conclusions, they have made serious contributions to the ongoing discussion of these issues. Their linedrawing work in particular deserves considered attention from WADA and other stakeholders as they continue to work toward a useful and defensible definition of the spirit of sport

H-Book

https://dh.howard.edu/hu_pub/1012/thumbnail.jp

The 'War on Terror' metaframe in film and television

Following the terrorist attacks of September 11th, 2001, the government of the United States of America declared a ‘War on Terror’. This was targeted not only at the ostensible culprits – al-Qaeda - but at ‘terror’ itself. The ‘War on Terror’ acted as a rhetorical ‘metaframe’, which was sufficiently flexible to incorporate a broad array of nominally-related policies, events, phenomena and declarations, from the Iraq war to issues of immigration. The War on Terror is strategically limitless, and therefore incorporates not only actual wars, but potential wars. For example, the bellicose rhetoric towards those countries labelled the ‘Axis of Evil’ or ‘Outposts of Tyranny’ is as much a manifestation of the metaframe as the ‘Shock and Awe’ bombing of Baghdad. As a rhetorical frame, it is created through all of its utterances; its narrative may have been initially scripted by the Bush administration, but it is reified and naturalised by the news media and other commentators, who adopt the frame’s language even when critical of its content. Moreover, film and television texts participate in this process, with fiction-based War on Terror narratives sharing and supporting – co-constituting – the War on Terror discourse’s ‘reality’. This thesis argues that the War on Terror metaframe manifests itself in multiple interconnected narrative forms, and these forms both transcode and affect its politics. I propose a congruency between the frame’s expansiveness and its associational interconnections, and a corresponding cinematic plot-structure I term the Global Network Narrative. Elsewhere, an emphasis on the pressures of clock-time is evoked by the real-time sequential-series 24, while the authenticity and authority implied by the embedded ‘witness’ is shown to be codified and performed in multiple film and television fiction texts. Throughout, additional contextual influences – social, historical, and technological – are introduced where appropriate, so as not to adopt the metaframe’s claims of limitlessness and uniqueness, while efforts are made to address film and television not as mutually exclusive areas of study, but as suggestively responsive to one another

The Bulletin, Undergraduate Catalog 1979-81, March (1979)

https://red.mnstate.edu/bulletins/1057/thumbnail.jp

Second-Person Surveillance: Politics of User Implication in Digital Documentaries

This dissertation analyzes digital documentaries that utilize second-person address and roleplay to make users feel implicated in contemporary refugee crises, mass incarceration in the U.S., and state and corporate surveillances. Digital documentaries are seemingly more interactive and participatory than linear film and video documentary as they are comprised of a variety of auditory, visual, and written media, utilize networked technologies, and turn the documentary audience into a documentary user. I draw on scholarship from documentary, game, new media, and surveillance studies to analyze how second-person address in digital documentaries is configured through user positioning and direct address within the works themselves, in how organizations and creators frame their productions, and in how users and players respond in reviews, discussion forums, and Let’s Plays. I build on Michael Rothberg’s theorization of the implicated subject to explore how these digital documentaries bring the user into complicated relationality with national and international crises. Visually and experientially implying that users bear responsibility to the subjects and subject matter, these works can, on the one hand, replicate modes of liberal empathy for suffering, distant “others” and, on the other, simulate one’s own surveillant modes of observation or behavior to mirror it back to users and open up one’s offline thoughts and actions as a site of critique. This dissertation charts how second-person address shapes and limits the political potentialities of documentary projects and connects them to a lineage of direct address from educational and propaganda films, museum exhibits, and serious games. By centralizing the user’s individual experience, the interventions that second-person digital documentaries can make into social discourse change from public, institution-based education to more privatized forms of sentimental education geared toward personal edification and self-realization. Unless tied to larger initiatives or movements, I argue that digital documentaries reaffirm a neoliberal politics of individual self-regulation and governance instead of public education or collective, social intervention. Chapter one focuses on 360-degree virtual reality (VR) documentaries that utilize the feeling of presence to position users as if among refugees and as witnesses to refugee experiences in camps outside of Europe and various dwellings in European cities. My analysis of Clouds Over Sidra (Gabo Arora and Chris Milk 2015) and The Displaced (Imraan Ismail and Ben C. Solomon 2015) shows how these VR documentaries utilize observational realism to make believable and immersive their representations of already empathetic refugees. The empathetic refugee is often young, vulnerable, depoliticized and dehistoricized and is a well-known trope in other forms of humanitarian media that continues into VR documentaries. Forced to Flee (Zahra Rasool 2017), I am Rohingya (Zahra Rasool 2017), So Leben Flüchtlinge in Berlin (Berliner Morgenpost 2017), and Limbo: A Virtual Experience of Waiting for Asylum (Shehani Fernando 2017) disrupt easy immersions into realistic-looking VR experiences of stereotyped representations and user identifications and, instead, can reflect back the user’s political inaction and surveillant modes of looking. Chapter two analyzes web- and social media messenger-based documentaries that position users as outsiders to U.S. mass incarceration. Users are noir-style co-investigators into the crime of the prison-industrial complex in Fremont County, Colorado in Prison Valley: The Prison Industry (David Dufresne and Philippe Brault 2009) and co-riders on a bus transporting prison inmates’ loved ones for visitations to correctional facilities in Upstate New York in A Temporary Contact (Nirit Peled and Sara Kolster 2017). Both projects construct an experience of carceral constraint for users to reinscribe seeming “outside” places, people, and experiences as within the continuation of the racialized and classed politics of state control through mass incarceration. These projects utilize interfaces that create a tension between replicating an exploitative hierarchy between non-incarcerated users and those subject to mass incarceration while also de-immersing users in these experiences to mirror back the user’s supposed distance from this mode of state regulation. Chapter three investigates a type of digital game I term dataveillance simulation games, which position users as surveillance agents in ambiguously dystopian nation-states and force users to use their own critical thinking and judgment to construct the criminality of state-sanctioned surveillance targets. Project Perfect Citizen (Bad Cop Studios 2016), Orwell: Keeping an Eye on You (Osmotic Studios 2016), and Papers, Please (Lucas Pope 2013) all create a dual empathy: players empathize with bureaucratic surveillance agents while empathizing with surveillance targets whose emails, text messages, documents, and social media profiles reveal them to be “normal” people. I argue that while these games show criminality to be a construct, they also utilize a racialized fear of the loss of one’s individual privacy to make players feel like they too could be surveillance targets. Chapter four examines personalized digital documentaries that turn users and their data into the subject matter. Do Not Track (Brett Gaylor 2015), A Week with Wanda (Joe Derry Hall 2019), Stealing Ur Feelings (Noah Levenson 2019), Alfred Premium (Joël Ronez, Pierre Corbinais, and Émilie F. Grenier 2019), How They Watch You (Nick Briz 2021), and Fairly Intelligent™ (A.M. Darke 2021) track, monitor, and confront users with their own online behavior to reflect back a corporate surveillance that collects, analyzes, and exploits user data for profit. These digital documentaries utilize emotional fear- and humor-based appeals to persuade users that these technologies are controlling them, shaping their desires and needs, and dehumanizing them through algorithmic surveillance

The Bulletin, Undergraduate Catalog 1981-83, Volume 81, Number 5, September (1981)

https://red.mnstate.edu/bulletins/1059/thumbnail.jp

2001, UMaine News Press Releases

This is a catalog of press releases put out by the University of Maine Division of Marketing and Communications between January to December 2001. Incomplete

1997-1999, University of Memphis bulletin

University of Memphis bulletin containing the undergraduate catalog for 1997-1999.https://digitalcommons.memphis.edu/speccoll-ua-pub-bulletins/1444/thumbnail.jp

Negotiating the Boundaries of (In)Visibility: Asian American Men and Asian/ American Masculinity on Screen.

First and foremost an audience reception study, Negotiating the Boundaries of (In)Visibility illustrates the dialogic relationship of racial discourse in the media and Asian American male identity in the United States. It combines in-depth interviews with textual, discursive, and industry analyses. I showcase how economic, political and technological changes in America and the media industry intersect with cultural shifts in narratives and representations. Defining the boundaries of their identity and culture, interviewees discuss the lack of an Asian American narrative in American popular culture. Rather, Asian Americans contend with larger stereotypes of “Asian,” considered to be a loaded term accompanied by a long history of ethnic homogenization and racial and cultural stereotypes. This dissertation locates particular sites of identification—social surroundings, news media, entertainment media—and how narratives of Asian, American, and Asian American are negotiated, contested, or made visible. In remembering news stories from the mid-2000s, interviewees show how diffuse the concept of “Asia” is in forming identities as racial subjects in America. Analyzing news texts and the rhetoric used to describe these news events, I suggest that the anxiety over China’s economic rise and the accompanying resurgence of “yellow peril” discourse perpetuates the homogenizing definition of “Asian American,” and how national discourse about a foreign threat can shape race relations within. These anxieties are countered by the rise of multicultural ensemble casts and Asian American male leads on primetime television shows. This juxtaposition shapes the complicated space in which Asian American men actively resist, negotiate, and accept racial stereotypes and problematic representations. Providing textual analyses of Lost and Heroes, I suggest that the seemingly progressive multiculturalism presented in entertainment texts perpetuates feelings of subordination and marginalization among racial viewers. Finally, I provide a close reading of television shows’ transmedia narratives their treatment of race. In particular, I suggest the ways in which racial difference becomes more visible as texts appeal to more mainstream audiences. In doing so, I begin a discussion of how multi-platform storytelling may offer new opportunities for articulating race and gender beyond television.Ph.D.CommunicationUniversity of Michigan, Horace H. Rackham School of Graduate Studieshttp://deepblue.lib.umich.edu/bitstream/2027.42/86392/1/helenho_1.pd