ALMITRA COREY Production Design Portfolio Feature Films & Episodic: GLOW (Season 4) Jesse Peretz, Various Netflix

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ALMITRA COREY Production Design Portfolio Feature Films & Episodic: GLOW (Season 4) Jesse Peretz, Various Netflix HIGH FIDELITY (Pilot & Series) Jesse Peretz, Various ABC Signature / Midnight Radio / Hulu ENDINGS, BEGINNINGS Drake Doremus CJ Entertainment / Samuel Goldwyn Official Selection – Toronto International Film Festival DAVE (Pilot & Series) Greg Mottola, Various FXX / Hulu THIS IS HEAVEN (Pilot) Lorene Scafaria A24 / Hulu JUPITER PALMS (Pilot) Jason Woliner Annapurna Pictures / Hulu IMDB ME (Series) Jake Szymanski Funny or Die / Amazon BANANA SPLIT Benjamin Kasulke Burn Later Productions / American Indie THE LONG DUMB ROAD Hannah Fidell Gamechanger Films / Universal Official Selection – Sundance Film Festival SPLITTING UP TOGETHER (Pilot) Dean Holland Warner Bros. TV / ABC THE BIBLE (Pilot) Dean Fleischer-Camp Super Deluxe UNT. CRISTIN MILIOTI / Daniel Longino FX NINA PEDRAD PROJECT HIGH MAINTENANCE (Series) Katja Blichfeld & Ben Sinclair HBO TOUR DE PHARMACY Jake Szymanski HBO 555 (Miniseries) Andrew DeYoung Abso Lutely Productions LUCKY John Carroll Lynch Divide / Conquer / Magnolia Pictures Official Selection – SXSW Film Festival THE INVITATION Karyn Kusama XYZ Films Official Selection – SXSW Film Festival MOST BEAUTIFUL ISLAND Ana Asensio Samuel Goldwyn Films Winner, Grand Jury Award – SXSW Film Festival Official Selection – SXSW Film Festival JOSHY Jeff Baena American Zoetrope Official Selection – Sundance Film Festival DAVID (Miniseries) Dean Fleischer-Camp Super Deluxe DIGGING FOR FIRE Joe Swanberg Forager Films Additional Photography THE JINX: THE LIFE AND DEATHS Andrew Jarecki HBO OF ROBERT DURST (Miniseries) Los Angeles Unit CATHERINE (Series) Dean Fleischer-Camp YouTube CONTINUED WPA | Worldwide Production Agency 144 N. Robertson Boulevard | Suite A | West Hollywood | 90048 ph: 310.659.9965 | www.wp-a.com COREY, Almitra (p.2) Commercials (Partial List): Dixie, Clearsil, Head Tennis, Citizen M Hotel, Gucci Sunglasses, Vevo Directors (Partial List): Columbine Goldsmith, Georgie Greville, Ryan Hope, Ryan Heffington, Dori Oskowitz, Hugo Stenson, Johannes Schroeder, PES, Sunbeam Music Videos (Partial List): Dirty Projectors “Little Bubble” | Paul McCartney “Say Say Say” | Disclosure “Jaded” | Broods “Bridges” | Metronomy “Boy Racers” | Mapei “Don’t Wait” | Shout Out Louds “Illusions” | Psychic Friend “We Do Not Belong” *Art Director Credits available upon request. WPA | Worldwide Production Agency 144 N. Robertson Boulevard | Suite A | West Hollywood | 90048 ph: 310.659.9965 | www.wp-a.com .

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Seriously Playful and Playfully Serious: the Helpfulness of Humorous Parody Michael Richard Lucas Clemson University
Clemson University TigerPrints All Dissertations Dissertations 5-2015 Seriously Playful and Playfully Serious: The Helpfulness of Humorous Parody Michael Richard Lucas Clemson University Follow this and additional works at: https://tigerprints.clemson.edu/all_dissertations Recommended Citation Lucas, Michael Richard, "Seriously Playful and Playfully Serious: The eH lpfulness of Humorous Parody" (2015). All Dissertations. 1486. https://tigerprints.clemson.edu/all_dissertations/1486 This Dissertation is brought to you for free and open access by the Dissertations at TigerPrints. It has been accepted for inclusion in All Dissertations by an authorized administrator of TigerPrints. For more information, please contact [email protected]. SERIOUSLY PLAYFUL AND PLAYFULLY SERIOUS: THE HELPFULNESS OF HUMOROUS PARODY A Dissertation Presented to the Graduate School of Clemson University In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy Rhetorics, Communication, and Information Design by Michael Richard Lucas May 2014 Accepted by: Victor J. Vitanza, Committee Chair Stephaine Barczewski Cynthia Haynes Beth Lauritis i ABSTRACT In the following work I create and define the parameters for a specific form of humorous parody. I highlight specific problematic narrative figures that circulate the public sphere and reinforce our serious narrative expectations. However, I demonstrate how critical public pedagogies are able to disrupt these problematic narrative expectations. Humorous parodic narratives are especially equipped to help us in such situations when they work as a critical public/classroom pedagogy, a form of critical rhetoric, and a form of mass narrative therapy. These findings are supported by a rhetorical analysis of these parodic narratives, as I expand upon their ability to provide a practical model for how to create/analyze narratives both inside/outside of the classroom.
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