Thesis Presentation Powerpoint

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Honors Thesis Presentation Powerpoint





That basically sums it all up.

The end is in sight….

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Wow, I cannot believe this project is due in just a few days! Even though it’s officially due on Friday March 18, I’ll be turning it in one day earlier.

I spent Friday, yesterday, and today going over the whole draft, editing section by section, and doing major (and needed) renovation to the Conclusion section. And FINALLY I’m at a point where I could be satisfied turning it in as is. Of course, I’m sure my last editing meeting on Tuesday will bring up things to change/fix, but oh well… there’s always room for improvement!

And now for the very exciting news of binding! I found out the name of the kind that I want: velo binding ( Heh, I’m sure I’ll get some (well-deserved) teasing about this 🙂

Almost there! Cannot believe it…

Title issues…and I can feel the panic setting in!

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Less than a week until the first final draft is due….and then just about another week until the FINAL version needs to be turned in. And I’m not at all satisfied with where this title is:

“Producing Culture With Film: How Bollywood Came to Budapest”

The second part has the nod of approval from Nitin – phew, because I really like the alliteration and the overall feel of it. But the first part still needs a lot of work *sigh*

Stuff to do by March 8:

  1. check over all footnotes (MLA Handbook)
  2. check over bibliography formatting (MLA Handbook)
  3. full read-throughs and editing
  4. conclusion…I’m really really hesitant about how it is right now :\
  5. table of contents?
  6. abstract?
  7. citations for any images…
  8. finalize section headings
  9. cover page
  10. check transitions
  11. TITLE.
  12. try not to stress out too much…heh.

The day after I turn this in will be a happy day indeed 😀

Claims, Reasons, Evidence

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So Gary had us do this assignment where we needed to categorize different parts of our argument into three “classes”: claims, reasons, and evidence. It was a pretty interesting/useful exercise, because it really made me think about the overall flow of my paper, which right now is quite choppy and all over the place. Here’s what I came up with:

Claim: Neoliberal economic shifts have allowed for a dynamic media relationship between India and Hungary, which has led to the production of culture with Bollywood films, in order to boost inter-government amicability. Yet the economic origin of this cultural production limits its success: there is unresolved tension between filmic representation and national identity related to Hungary (this last sentence sucks…)


1) Pre-1980s Indo-Hungarian exchange was limited to formal industrial trade

Evidence: Communist/strong central gov set up from 1950s-1970s; stemming from politically-focused alliance

2) Neoliberalism opens up economic structures for transnational interactions

Evidence: Shift of economic figures, both domestically and Indo-Hung trade; industrialization of Bollywood, further globalization of Indian economy

3) Cinematic production allows for a blend of cultural/economic production

Evidence: India Film Festivals, India Week, the function of film festivals, on-location shooting

4) A blending of cultural/economic production can sometimes lead to  complications of national identity representation (w/ “national erasure”)

Evidence: Act of 2004, Hum Dil De Chuke Sanam, Aks, film analysis + broader implications (econ stats too)

Article: “The Terror of Neoliberalism: Rethinking the Significance of Cultural Politics” (Giroux)

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“The Terror of Neoliberalism: Rethinking the Significance of Cultural Politics” by Henry A. Giroux, College Literature, 32.1 Winter 2005, p1-19, published by West Chester Library

“Wedded to the belief that the market should be the organizing principle for all political, social, and economic decisions, neoliberalism wages an incessant attack on democracy, public goods, and non-commodified values” (2)

“citizenship has increasingly become a function of consumerism and politics has been restructured as ‘corporations have been increasingly freed from social control through deregulation, privatization, and other neoliberal measures’ (Tabb 2003, 153)” (2)

“Corporations more and more design not only the economic sphere but also shape legislation and policy affecting all levels of government, and with limited opposition” (2)

“Neoliberalism has to be understood within a larger crisis of vision, meaning, education, and political agency” (3)

“Under the reign of neoliberalism, capital and wealth have been largely distributed upwards, while civic virtue has been undermined by a slavish celebration of the free market as the model for organizing all facets of everyday life” (4)

“Civic engagement now appears impotent as corporations privatize public space and disconnect power from issues of equity, social justice, and civic responsibility. Financial investments, market identities, and commercial values take precedence over human needs, public responsibilities, and democratic relations. Proceeding outside of democratic accountability, neoliberalism has allowed a handful of private interests to control as much of social life as possible in order to maximize their personal profit” (5-6)

“With its debased belief that profit-making is the essence of democracy and its definition of citizenship as an energized plunge into consumerism, neoliberalism eliminates government regulation of market forces, celebrates a ruthless competitive individualism, and places the commanding political, cultural, and economic institutions of society in the hands of powerful corporate interests” (8)

“Neoliberal global policies also further the broader cultural project of privatizing social services” (8)

“[Neoliberalism] is an economic and implicitly cultural theory – a historical and socially constructed ideology that needs to be made visible, critically engaged, and shaken from the stranglehold of power it currently exercises over most of the commanding institutions of national and global life” (12)

Reworked Thesis Outline

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I Abstract

II Introduction

Ø      Can add in “Why Hungary” section here (make it easier to tie points together)

Ø      Can also add in “What’s in a Name” section once it’s condensed

III Methodology

Ø      Should put in elements of neoliberalism criticism as well

IV     Media Flows

Ø      Appadurai, Larkin

V    Setting the Scene: 1950s

Ø      Or maybe call this something broader, like “Historical Roots”?

Ø      Combine minor sections (“Golden Age of Cinema,” “Indo-Soviet Relations,” “Hungary in 1956”)

Ø      Maybe even add in “Industrial Trade” section here if the titled is reworked…

VI     Neoliberalism and Cultural Production

Ø      Need to include some critique of neoliberalism when defining/explaining it

Ø      Also should delve into how culture is produced in this case where economic development drives forth a transnational dialogue of India and Hungary

Ø      Combine “Bollywood’s Industrialization” section too – use this to link the history of economic neoliberalism with idea of cultural production but then use it to lead to transnationality of Indo-Hungarian relationship

VII     Bollywood in Hungary

Ø      Film festivals, India Week

Ø      The difference in how India is legitimized/actively acknowledged (as opposed to vice versa)

VIII    Hungary in Bollywood

Ø      Start with summary of Hungary’s film industry growth/history

Ø      Film analysis of clips from Aks and Hum Dil De Chuke Sanam – including HDDCS screening

Ø      Use screenshots as visuals

Ø      Use this to link to Elmer/Gasher idea of “national erasure” in cinema (grad school writing sample)

Ø      Act of 2004 and showing where this is going (economic film policies impacting cultural production)

IX     Conclusion

Ø      Limited success of Indo-Hungarian relationship to impact cultural production

Ø      Yet it still provides example of how economic change can (not necessarily will) translate to a cultural exchange

Ø      Emerging phenomenon of media-driven transnational relationship

X     List of Works Cited

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