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301.
Elite Forever: Making an Ethnographic Film for a Public Audience
by Monahan, Trent, M.A.  California State University, Long Beach. 2019: 43 pages; 13903318.
302.
How non -music majors experience the value of participating in music
by Bures, Ruth, Ed.D.  Saint Mary's University of Minnesota. 2009: 116 pages; 3358977.
304.
Movie audiences, modernity, and urban identities in Cali, Colombia, 1945-1980
by Arias Osorio, Maria Fernanda, Ph.D.  Indiana University. 2014: 524 pages; 3641826.
306.
Electrified voices: Media technology and discourse in modern Japan
by Yasar, Kerim, Ph.D.  Columbia University. 2009: 277 pages; 3348442.
308.
Kinna-Uganda: A review of Uganda's national cinema
by Rasmussen, Kristin Alexandra, M.A.  San Jose State University. 2010: 117 pages; 1488151.
309.
Motion(less) pictures: The cinema of stasis
by Remeselnik, Justin, Ph.D.  Wayne State University. 2012: 173 pages; 3505303.
310.
Slack cinema: Notes on genre and culture
by Elliott, Timothy J., M.A.  Iowa State University. 2011: 60 pages; 1494773.
311.
Mysticism in 20th and 21st century violin music
by Bagley, Paul Michael, D.M.A.  University of Maryland, College Park. 2014: 28 pages; 3643907.
312.
313.
From table to theater: "Pūt, Vējiņi", the ever-evolving song
by Teteris-Dunker, Melisandra Elizabeth, M.A.  California State University, Long Beach. 2017: 59 pages; 10262983.
314.
Intertextual Relationships in Nino Rota's Concerto per Trombone E Orchestra, the Godfather, and Fortunella
by Martinez, Bradley William, M.M.  California State University, Long Beach. 2018: 25 pages; 10784437.
315.
Acting White: African Americans, Whiteface, and Post-Civil Rights Popular Culture
by Gates, Racquel, Ph.D.  Northwestern University. 2010: 270 pages; 3433575.
316.
Translating Bülent Ersoy’s Stylized Gender Performances in The End of Fame: A Case Study
by Susel, Kumru, Ph.D.  State University of New York at Binghamton. 2019: 195 pages; 13865557.
317.
The role of music theory in music production and engineering
by Wiederkehr, George A., M.A.  University of Oregon. 2015: 153 pages; 1602500.
318.
Part of a Man’s World: A Modern Feminist and Musical Perspective on The Little Mermaid
by Neuffer, Jaclyn, M.M.  California State University, Long Beach. 2019: 33 pages; 13861468.
320.
The Microphone on Film: Sound Collection and the Visual
by Kirshtner, Kelly V., Ph.D.  University of California, Irvine. 2011: 236 pages; 3457460.
322.
Manifesting archetypal energy through music
by Davis, Kevin, M.A.  Pacifica Graduate Institute. 2010: 81 pages; 1482013.
323.
Now, We Hear Through a Voice Darkly: New Media and Narratology in Cinematic Art
by Ricci, James A., Ph.D.  University of South Florida. 2015: 121 pages; 3738439.
324.
Gender in the city: The intersection of capital and gender consciousness in Latin American cinema
by Rangel, Liz Consuelo, Ph.D.  The University of Arizona. 2009: 250 pages; 3356411.
325.
Stages, pages, and screens: The industrialization of genre and the early American cinema
by Phillips, Wyatt D., Ph.D.  New York University. 2013: 768 pages; 3602706.
326.
Ravel's "Don Quichotte à Dulcinée": A Comparison of the Interpretation of Three Baritones
by Lyu, Jeong Sang, M.M.  California State University, Long Beach. 2016: 59 pages; 10240202.
327.
Gute Musik. Repräsentation und Wirkung prosozialer Musik
by Ruth, Nicolas, Ph.D.  Bayerische Julius-Maximilians-Universitaet Wuerzburg (Germany). 2018: 131 pages; 10971999.
328.
Cinematic realism and independent filmmaking in China
by Yang, Mei, Ph.D.  University of Oregon. 2011: 327 pages; 3466392.
329.
"We Were There": From Alice Bag to Emos the War on Punk and Other Décadas Podridas
by Rios-Hernandez, Marlen, Ph.D.  University of California, Riverside. 2019: 172 pages; 22622298.
330.
Wong Kar-wai
by Shi, Rong, M.A.  University of Southern California. 2009: 83 pages; 1464335.
301 - 330 of 18280 displayed.
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