Through the Eyes of a Child: The Portrayal of South Africa’s Apartheid in Children’s Cinema

August 1977: a thirteen-year-old African American girl stands at the gate of an airport holding a bouquet of flowers. Standing with her mother, she is anxiously awaiting the arrival of Mahree, a South African school girl her family has offered to host for the upcoming academic school year. The young African American girl, Piper, is excited to meet this South African girl, hoping their African heritage will bond them together. The passengers all exit the plane, and Piper starts to worry that they are at the wrong gate because neither Piper nor her mom spotted a fourteen-year-old South African girl leaving the plane. In hopes of locating Mahree, Piper calls out Marhee’s name. Suddenly, a young white girl turns around and says “I’m Mahree Bok.” Both parties are stunned; Piper pictured Mahree to be black South African, while Mahree pictured her host family to be white. The scene described above is a scene from the children’s movie, The Color of Friendship, released in 2000. From the outside, this scene seems to be an innocent interaction-- two young girls are meeting for the first time. However, put in the context of the South African apartheid, one learns that this scene carries certain historical truths that warrant a deeper understanding. Its 1977 and South Africa is still entrenched in a strict and oppressive system of racial segregation. When meeting her African American host family for the first time, is it safe to assume that Mahree’s shock comes from a set of apartheid cultural ideologies that believe blacks to be inferior to whites. Directed by Kevin Hook, The Color of Friendship is a children’s TV film that seeks to address issues of race in the context of the South African apartheid. The Color of Friendship raises important questions about the genre of children’s film, memory, and history when analyzed through a historic lens. How can children’s film be used to address important but difficult themes of discrimination and race? Can directors use children’s film to accurately portray historical injustices? These series of questions can be answered through a deep historical analysis of the film, The Color of Friendship. The film’s representation of South African race relations through the portrayal of Steven Biko’s death and Afrikaner ideologies illustrates that difficult historical themes can be accurately portrayed through children’s cinema

The Catholic Core of a Celebrated Composition

Despite an undeviating opinion on the subject, his greatest work The Lord of the Rings, is replete with free-floating allegory to Christian characters. Characters and situations that suggest Biblical situations, both narratively and on the level of spirituality and ethics. Each character within biblical text correlates with one or more characters in Tolkien’s work, thus free floating. Tolkien is a devoutly religious author who processes the world, including his own fantasies, through the lens of his faith. While Tolkien draws from different elements of theology in several different ways—such as interchanging his characters to represent various aspects of key Biblical figures—it is clear that Tolkien assigned a moral, free-flowing, yet religious allegorical backbone to his work

Drawing Survivance, Embodying Survivance: The Work of Contemporary Ledger Artists Dwayne Wilcox and Monte Yellow Bird Sr.

This paper examines the work of two contemporary Indigenous Artists, Dwayne Wilcox and Monte Yellow Bird Sr. using Gerald Vizenor\u27s theory of suriviance. I first discuss survivance, drawing on the ways both Vizenor and other scholars have used survivance in their academic works. I then move on to situating ledger art in its historical context, analyzing the ways ledger art has been historically examined and written about. The last two sections of this paper are dedicated to highlighting the ways in which two contemporary Indigenous artists, Dwayne Wilcox and Monte Yellow Bird Sr., have embodied Vizenor’s theory of survivance in their artwork. By analyzing the works of artists Dwayne Wilcox and Monte Yellow Bird Sr. through the lens of survivance, I propose that examining ledger art through survivance gives scholars a nuanced way of understanding both nineteenth century and contemporary ledger art

Face to Face, Carl Beam and Andy Warhol

Keira Koch ’19 examines representations of indigenous cultures in prints and photographs by American artist Andy Warhol and First Nations artist Carl Beam. In this comparative study, Koch considers the topic of appropriation and re-appropriation of Native imagery. Warhol, as a non-Indigenous artist, is using this imagery to highlight the dominant narrative of the American West. Beam, however, incorporates photographs of Native subjects and traditional narratives by re-appropriating those images to tell a distinctly Native narrative. This exhibition invites discussion about the role of contemporary indigenous artists and how indigenous identities are expressed in contemporary art. This exhibition intersects with the issues and methodologies studied in Koch’s individualized major titled “Indigenous Cultures, History and Identity.” In addition to studying aboriginal arts and indigenous communities in Australia during her Junior year, Koch serves as the Co-President of Students for Indigenous Awareness at Gettysburg College.https://cupola.gettysburg.edu/artcatalogs/1027/thumbnail.jp

Women and World War II at Gettysburg College

An examination of the women attending Gettysburg College during World War II. This project examined what the women did and experienced during the World War II, along with analyzing campus culture and life

Gravitational radiation from elastic particle scattering in models with extra dimensions

In this paper we derive a formula for the energy loss due to elastic N to N particle scattering in models with extra dimensions that are compactified on a radius R. In contrast to a previous derivation we also calculate additional terms that are suppressed by factors of frequency over compactification radius. In the limit of a large compactification radius R those terms vanish and the standard result for the non compactified case is recovered.Comment: 17 page

Geological study in the southern part of Madagascar

There are no author-identified significant results in this report

Subgraphs and Colourability of Locatable Graphs

We study a game of pursuit and evasion introduced by Seager in 2012, in which a cop searches the robber from outside the graph, using distance queries. A graph on which the cop wins is called locatable. In her original paper, Seager asked whether there exists a characterisation of the graph property of locatable graphs by either forbidden or forbidden induced subgraphs, both of which we answer in the negative. We then proceed to show that such a characterisation does exist for graphs of diameter at most 2, stating it explicitly, and note that this is not true for higher diameter. Exploring a different direction of topic, we also start research in the direction of colourability of locatable graphs, we also show that every locatable graph is 4-colourable, but not necessarily 3-colourable.Comment: 25 page