Arts and Humanities Commons^™

Horror’S Aesthetic Exchange: Immersion, Abstraction And Annihilation, Ashley Morgan Steinbach

USF Tampa Graduate Theses and Dissertations

This thesis uncovers a remote entanglement of phenomenological experience and abstract aesthetics in postmodern horror, a space that historically celebrates the former and critically undervalues the latter. Framed as a case study, I mobilize close readings of Alex Garland’s science fiction horror film, Annihilation (2018), to complicate the immersion/abstraction binary that implicitly structures much of contemporary horror scholarship. By recovering horror’s distanced and decentered forms and aesthetics I point to the interdependent faculty of a composite aesthetic collaboration.

These collaborations, which I refer to as aesthetic exchanges, place pressure on the localized emphasis of horror’s situated assaultive and reactive positions. …

Baltimore Mobility: The Wire, Local Documentary, And The Politics Of Distance, Richard M. Farrell

USF Tampa Graduate Theses and Dissertations

Extending scholarship on Baltimore’s media landscape, I observe how two moving-image texts, HBO’s The Wire (David Simon, 2002-2008) and 12 O’clock Boys (Lotfy Nathan, 2013), figure space and, by extension, mobility in the city. Specifically, I articulate how both figures of mobility relate with each other and to the mobility inequality that has historically and disproportionately plagued communities along the city’s east-west axis. Overall, in both texts, I read a shared anxiety toward sources of distant mediation. Through its sober audio-visual style and serial organization, I find The Wire fatalistically figures Baltimore mobility as conditioned by omnidirectional flows of power. …