{"id":{"repo_id":"unm","oai_identifier":"oai:digitalrepository.unm.edu:fll_etds-1109"},"canonical_url":"https://search.dev.ndltd.org/etd/unm/oai:digitalrepository.unm.edu:fll_etds-1109","repository":{"repo_id":"unm","name":"University of New Mexico","base_url":"https://digitalrepository.unm.edu/do/oai/"},"display":{"title":"Not a Cinematic Hair Out of Place: Examinations in Identity (Transformation) as Evidenced through Haircuts in The Crying Game","abstract":"This thesis asks a question: Can transformations to a cinematic character's hair be indicative of a realignment or shifting of that character's identity? As an attempt to answer this question, I introduce three new concepts: the Opaque Movement (OM), the Transparent Violent Moment (TVM), and the Transparent Moderate Moment (TMM). All of these concepts revolve around the treatment and appearance of a character's hair within a film. In this examination, I establish a theoretical foundation for cinematic haircutting and apply the three concepts to several films. I ground the discussion in a thorough examination of The Crying Game by Neil Jordan. The 1992 film contains four haircuts or hair transformations and through analysis of the central characters before and after their haircuts, I utilize the concepts above. This thesis illustrates that in cinema, not a cinematic hair is out of place, a choice in hairstyle, haircut or hair transformation isn't merely, or just, an example of fashion or cultural trend. In film, hair is a marker of cinematic, cultural and identity formation.","abstract_html":"This thesis asks a question: Can transformations to a cinematic character's hair be indicative of a realignment or shifting of that character's identity? As an attempt to answer this question, I introduce three new concepts: the Opaque Movement (OM), the Transparent Violent Moment (TVM), and the Transparent Moderate Moment (TMM). All of these concepts revolve around the treatment and appearance of a character's hair within a film. In this examination, I establish a theoretical foundation for cinematic haircutting and apply the three concepts to several films. I ground the discussion in a thorough examination of The Crying Game by Neil Jordan. The 1992 film contains four haircuts or hair transformations and through analysis of the central characters before and after their haircuts, I utilize the concepts above. This thesis illustrates that in cinema, not a cinematic hair is out of place, a choice in hairstyle, haircut or hair transformation isn't merely, or just, an example of fashion or cultural trend. In film, hair is a marker of cinematic, cultural and identity formation.","abstract_has_math":false,"creators":["Herring, Allen, III"],"institution":null,"degree_name":"Comparative Literature and Cultural Studies","degree_level":"Thesis","degree_discipline":"Department of Foreign Languages and Literatures","degree_department":null,"school":null,"contributors":["Schroeter, Dr. Katrin","Coleman, Dr. Finnie","Hayward, Dr. Eva"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2011,"date_issued":"2011-02-08T08:00:00Z","date_published":"2011-02-08T08:00:00Z","updated_at":"2026-07-24T05:26:07Z","subjects":["hair","identity","The Crying Game","identity formation","hairstyles","cinema","culture","monster theory","hauntings","pain","warfare","torture"],"languages":["English"],"rights":[],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["https://digitalrepository.unm.edu/fll_etds/109"],"render_values":[{"text":"https://digitalrepository.unm.edu/fll_etds/109","href":"https://digitalrepository.unm.edu/fll_etds/109","code":true}]}]},"links":{"outbound_url":"http://hdl.handle.net/1928/12043","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Schroeter, Dr. Katrin","Coleman, Dr. Finnie","Hayward, Dr. Eva"]},{"key":"dc:creator","label":"Author","values":["Herring, Allen, III"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"thesis:degree_discipline","label":"Discipline","values":["Department of Foreign Languages and Literatures"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Thesis","Masters"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Comparative Literature and Cultural Studies"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["hair","identity","The Crying Game","identity formation","hairstyles","cinema","culture","monster theory","hauntings","pain","warfare","torture"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["English"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["http://hdl.handle.net/1928/12043","https://digitalrepository.unm.edu/fll_etds/109"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["This thesis asks a question: Can transformations to a cinematic character's hair be indicative of a realignment or shifting of that character's identity? As an attempt to answer this question, I introduce three new concepts: the Opaque Movement (OM), the Transparent Violent Moment (TVM), and the Transparent Moderate Moment (TMM). All of these concepts revolve around the treatment and appearance of a character's hair within a film. In this examination, I establish a theoretical foundation for cinematic haircutting and apply the three concepts to several films. I ground the discussion in a thorough examination of The Crying Game by Neil Jordan. The 1992 film contains four haircuts or hair transformations and through analysis of the central characters before and after their haircuts, I utilize the concepts above. This thesis illustrates that in cinema, not a cinematic hair is out of place, a choice in hairstyle, haircut or hair transformation isn't merely, or just, an example of fashion or cultural trend. In film, hair is a marker of cinematic, cultural and identity formation."]},{"key":"dc:title","label":"Title","values":["Not a Cinematic Hair Out of Place: Examinations in Identity (Transformation) as Evidenced through Haircuts in The Crying Game"]}]}],"canonical_facts":{"dc:contributor":["Schroeter, Dr. Katrin","Coleman, Dr. Finnie","Hayward, Dr. Eva"],"dc:creator":["Herring, Allen, III"],"dc:description.abstract":["This thesis asks a question: Can transformations to a cinematic character's hair be indicative of a realignment or shifting of that character's identity? As an attempt to answer this question, I introduce three new concepts: the Opaque Movement (OM), the Transparent Violent Moment (TVM), and the Transparent Moderate Moment (TMM). All of these concepts revolve around the treatment and appearance of a character's hair within a film. In this examination, I establish a theoretical foundation for cinematic haircutting and apply the three concepts to several films. I ground the discussion in a thorough examination of The Crying Game by Neil Jordan. The 1992 film contains four haircuts or hair transformations and through analysis of the central characters before and after their haircuts, I utilize the concepts above. This thesis illustrates that in cinema, not a cinematic hair is out of place, a choice in hairstyle, haircut or hair transformation isn't merely, or just, an example of fashion or cultural trend. In film, hair is a marker of cinematic, cultural and identity formation."],"dc:identifier":["http://hdl.handle.net/1928/12043","https://digitalrepository.unm.edu/fll_etds/109"],"dc:language":["English"],"dc:subject":["hair","identity","The Crying Game","identity formation","hairstyles","cinema","culture","monster theory","hauntings","pain","warfare","torture"],"dc:title":["Not a Cinematic Hair Out of Place: Examinations in Identity (Transformation) as Evidenced through Haircuts in The Crying Game"],"thesis:degree_discipline":["Department of Foreign Languages and Literatures"],"thesis:degree_level":["Thesis","Masters"],"thesis:degree_name":["Comparative Literature and Cultural Studies"]},"updated_at":"2026-07-24T05:26:07Z"}