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dc.contributor.authorGailey, Augusta Mai
dc.date.accessioned2018-08-16T04:30:14Z
dc.date.available2018-08-16T04:30:14Z
dc.date.issued2018-05
dc.identifier.othergailey_augusta_m_201805_ma
dc.identifier.urihttp://purl.galileo.usg.edu/uga_etd/gailey_augusta_m_201805_ma
dc.identifier.urihttp://hdl.handle.net/10724/38411
dc.description.abstractIn 1997, the film Office Killer was released to the public. Cindy Sherman, of photographic fame, had directed the film as her first foray into the world of cinema. The film was ultimately received negatively publicly and critically with many critics criticizing that the film had none of the artistic direction that Sherman’s photographs displayed. This paper reexamines the film in the context of the critical theory written by Laura Mulvey and Mary Ann Doane about her photographic series Untitled Film Stills, Disasters, and Fairy Tales, reconsidering its merits in line with Sherman’s larger oeuvre.
dc.languageeng
dc.publisheruga
dc.rightspublic
dc.subjectCindy Sherman
dc.subjectOffice Killer
dc.subjectphotography
dc.subjectUntitled Film Stills
dc.subjectfilm
dc.subjecthorror
dc.subjectDisasters
dc.subjectFairy Tales
dc.titleReexamining Cindy Sherman's 1997 Film:
dc.title.alternativeOffice Killer
dc.typeThesis
dc.description.degreeMA
dc.description.departmentArt
dc.description.majorArt History
dc.description.advisorIsabelle Loring Wallace
dc.description.committeeIsabelle Loring Wallace
dc.description.committeeJanice Simon
dc.description.committeeNell Andrew


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