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Feminism, Postfeminism, Liz Lemonism: Comedy and Gender Politics on 30 Rock
Genders 1998-2013 Genders 1998-2013 Genders 1998-2013 Home (/gendersarchive1998-2013/) Feminism, Postfeminism, Liz Lemonism: Comedy and Gender Politics on 30 Rock Feminism, Postfeminism, Liz Lemonism: Comedy and Gender Politics on 30 Rock May 1, 2012 • By Linda Mizejewski (/gendersarchive1998-2013/linda-mizejewski) [1] The title of Tina Fey's humorous 2011 memoir, Bossypants, suggests how closely Fey is identified with her Emmy-award winning NBC sitcom 30 Rock (2006-), where she is the "boss"—the show's creator, star, head writer, and executive producer. Fey's reputation as a feminist—indeed, as Hollywood's Token Feminist, as some journalists have wryly pointed out—heavily inflects the character she plays, the "bossy" Liz Lemon, whose idealistic feminism is a mainstay of her characterization and of the show's comedy. Fey's comedy has always focused on gender, beginning with her work on Saturday Night Live (SNL) where she became that show's first female head writer in 1999. A year later she moved from behind the scenes to appear in the "Weekend Update" sketches, attracting national attention as a gifted comic with a penchant for zeroing in on women's issues. Fey's connection to feminist politics escalated when she returned to SNL for guest appearances during the presidential campaign of 2008, first in a sketch protesting the sexist media treatment of Hillary Clinton, and more forcefully, in her stunning imitations of vice-presidential candidate Sarah Palin, which launched Fey into national politics and prominence. [2] On 30 Rock, Liz Lemon is the head writer of an NBC comedy much likeSNL, and she is identified as a "third wave feminist" on the pilot episode. -
—Sex and the City“ Self-Guided Tour
“Sex and the City” Self-Guided Tour During its six seasons on television the ladies of Sex and the City made their way around Manhattan, making some previously unknown locations a must-see on every visitors list. Use this guide to visit some of the most memorable real-life filming locations of Sex and the City and visit www.TheNewYorkCityTraveler.com for more information on New York City. West Village/Meatpacking District 11 Sushi Samba 245 Park Ave South This sushi restaurant is where Samantha 1 Carrie’s Stoop 66 Perry St. confronts a cheating Richard Wright and Sex and the City used a few locations to film coins the term “Dirty martini. Dirty the exterior shots of Carrie’s apartment. bastard.” Here is the most recognizable, Carrie’s 12 Pleasure Chest 156 Seventh Ave. stoop. The girls stop by this sex shop and pick up 2 Magnolia Bakery 401 Bleecker St. the now-famous “The Rabbit” vibrator. Made famous by Sex and the City, stop by 13 Church of the Transfiguration 1 E. 29th St. for a cupcake. Also known as “The Little Church Around 3 Furniture Company 818 Greenwich St. the Corner,” this is where Samantha Furniture Company was cast as Aidan’s attempts to bed Friar Fuck. furniture shop, and where Carrie met Aidan. 14 Vera Wang Bridal House 225 W. 39th St. 4 Samantha’s Loft 300 Ganesvoort St. Where Charlotte picked up her wedding Samantha, always ahead of her time, moved dress when she was marrying Trey. to a loft in the Meatpacking District. The 15 Manolo Blahnik 31 W. -
An Analysis of Hegemonic Social Structures in "Friends"
"I'LL BE THERE FOR YOU" IF YOU ARE JUST LIKE ME: AN ANALYSIS OF HEGEMONIC SOCIAL STRUCTURES IN "FRIENDS" Lisa Marie Marshall A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2007 Committee: Katherine A. Bradshaw, Advisor Audrey E. Ellenwood Graduate Faculty Representative James C. Foust Lynda Dee Dixon © 2007 Lisa Marshall All Rights Reserved iii ABSTRACT Katherine A. Bradshaw, Advisor The purpose of this dissertation is to analyze the dominant ideologies and hegemonic social constructs the television series Friends communicates in regard to friendship practices, gender roles, racial representations, and social class in order to suggest relationships between the series and social patterns in the broader culture. This dissertation describes the importance of studying television content and its relationship to media culture and social influence. The analysis included a quantitative content analysis of friendship maintenance, and a qualitative textual analysis of alternative families, gender, race, and class representations. The analysis found the characters displayed actions of selectivity, only accepting a small group of friends in their social circle based on friendship, gender, race, and social class distinctions as the six characters formed a culture that no one else was allowed to enter. iv ACKNOWLEDGMENTS This project stems from countless years of watching and appreciating television. When I was in college, a good friend told me about a series that featured six young people who discussed their lives over countless cups of coffee. Even though the series was in its seventh year at the time, I did not start to watch the show until that season. -
An Lkd Films Production Presents
AN LKD FILMS PRODUCTION PRESENTS: RUNNING TIME.......................... 96 MIN GENRE ........................................ CRIME/DRAMA RATING .......................................NOT YET RATED YEAR............................................ 2015 LANGUAGE................................. ENGLISH COUNTRY OF ORIGIN ................ UNITED STATES FORMAT ..................................... 1920x1080, 23.97fps, 16:9, SounD 5.1 LINKS .......................................... Website: www.delinquentthemovie.com Facebook: https://www.facebook.com/Delinquentthefilm/ IMDB: http://www.imDb.com/title/tt4225478/ Instagram: @delinquentmovie Hashtag: #delinquentmovie, #delinquentfilm SYNOPSIS The principal is itching to kick Joey out of high school, anD Joey can’t wait to get out. All he wants is to work for his father, a tree cutter by day anD the leader of a gang of small-time thieves by night in rural Connecticut. So when Joey’s father asks him to fill in as a lookout, Joey is thrilleD until a routine robbery goes very wrong. Caught between loyalties to family anD a chilDhood frienD in mourning. Joey has to deal with paranoiD accomplices, a criminal investigation, anD his own guilt. What kinD of man does Joey want to be, anD what does he owe to the people he loves? DIRECTOR’S STATEMENT My home state of Connecticut is depicteD in Television anD Film as the lanD of the wealthy anD privileged: country clubs, yachts, anD salmon coloreD polo shirts galore. Although many of these elements do exist, there is another siDe of Connecticut that is not often seen. It features blue-collar workers, troubleD youth, anD families living on the fringes. I was raiseD in WooDbury, a small town in LitchfielD Country that restricteD commercial businesses from operating within its borders. WooDbury haD a large disparity in its resiDent’s householD income anD over one hundreD antique shops that lineD the town’s “Main St.” I grew up in the rural part of town where my house shareD a property with my father’s plant business. -
Accepted Manuscript Version
Research Archive Citation for published version: Kim Akass, and Janet McCabe, ‘HBO and the Aristocracy of Contemporary TV Culture: affiliations and legitimatising television culture, post-2007’, Mise au Point, Vol. 10, 2018. DOI: Link to published article in journal's website Document Version: This is the Accepted Manuscript version. The version in the University of Hertfordshire Research Archive may differ from the final published version. Copyright and Reuse: This manuscript version is made available under the terms of the Creative Commons Attribution-NonCommercial- NoDerivatives License CC BY NC-ND 4.0 ( http://creativecommons.org/licenses/by-nc-nd/4.0/ ), which permits non-commercial re-use, distribution, and reproduction in any medium, provided the original work is properly cited, and is not altered, transformed, or built upon in any way. Enquiries If you believe this document infringes copyright, please contact Research & Scholarly Communications at [email protected] 1 HBO and the Aristocracy of TV Culture : affiliations and legitimatising television culture, post-2007 Kim Akass and Janet McCabe In its institutional pledge, as Jeff Bewkes, former-CEO of HBO put it, to ‘produce bold, really distinctive television’ (quoted in LaBarre 90), the premiere US, pay- TV cable company HBO has done more than most to define what ‘original programming’ might mean and look like in the contemporary TV age of international television flow, global media trends and filiations. In this article we will explore how HBO came to legitimatise a contemporary television culture through producing distinct divisions ad infinitum, framed as being rooted outside mainstream commercial television production. In creating incessant divisions in genre, authorship and aesthetics, HBO incorporates artistic norms and principles of evaluation and puts them into circulation as a succession of oppositions— oppositions that we will explore throughout this paper. -
Racialization, Femininity, Motherhood and the Iron Throne
THESIS RACIALIZATION, FEMININITY, MOTHERHOOD AND THE IRON THRONE GAME OF THRONES AS A HIGH FANTASY REJECTION OF WOMEN OF COLOR Submitted by Aaunterria Treil Bollinger-Deters Department of Ethnic Studies In partial fulfillment of the requirements For the Degree of Master of Arts Colorado State University Fort Collins, Colorado Fall 2018 Master’s Committee: Advisor: Ray Black Joon Kim Hye Seung Chung Copyright by Aaunterria Bollinger 2018 All Rights Reserved. ABSTRACT RACIALIZATION, FEMININITY, MOTHERHOOD AND THE IRON THRONE GAME OF THRONES A HIGH FANTASY REJECTION OF WOMEN OF COLOR This analysis dissects the historic preconceptions by which American television has erased and evaded race and racialized gender, sexuality and class distinctions within high fantasy fiction by dissociation, systemic neglect and negating artistic responsibility, much like American social reality. This investigation of high fantasy creative fiction alongside its historically inherited framework of hierarchal violent oppressions sets a tone through racialized caste, fetishized gender and sexuality. With the cult classic television series, Game of Thrones (2011-2019) as example, portrayals of white and nonwhite racial patterns as they define womanhood and motherhood are dichotomized through a new visual culture critical lens called the Colonizers Template. This methodological evaluation is addressed through a three-pronged specified study of influential areas: the creators of Game of Thrones as high fantasy creative contributors, the context of Game of Thrones -
HBO Series Girls and Insecure's Depiction of Race and Gender
Pace University DigitalCommons@Pace Honors College Theses Pforzheimer Honors College Summer 7-2018 HBO Series Girls and Insecure’s Depiction of Race and Gender Kimberley Peterson Honors College, Pace University Follow this and additional works at: https://digitalcommons.pace.edu/honorscollege_theses Part of the Critical and Cultural Studies Commons, and the Gender, Race, Sexuality, and Ethnicity in Communication Commons Recommended Citation Peterson, Kimberley, "HBO Series Girls and Insecure’s Depiction of Race and Gender" (2018). Honors College Theses. 199. https://digitalcommons.pace.edu/honorscollege_theses/199 This Thesis is brought to you for free and open access by the Pforzheimer Honors College at DigitalCommons@Pace. It has been accepted for inclusion in Honors College Theses by an authorized administrator of DigitalCommons@Pace. For more information, please contact [email protected]. Peterson 1 HBO Series Girls and Insecure’s Depiction of Race and Gender Kimberley Peterson Peterson 2 Communication Studies Dr. Aditi Paul Communication Studies 3 May 2018 and 22 May 2018 Abstract In this research study the identification and representation of race and gender were looked at in the primetime HBO television series Insecure and Girls. The characters that were analyzed in two episodes were the young black women of Insecure and in two episodes the young white women in Girls. The method for this study was conducted using content analysis to identify the following variables focusing on identity, racial stereotypes and names used to address one another. Additionally, variables to identify gender included emotional approaches to situations, stereotypes and gender role expectations. The comprehensive findings revealed through similarities and differences of the episodes containing similar plot lines, as well as the overall analysis of each show, gave insight on how race and gender is being presented. -
30 Rock and Philosophy: We Want to Go to There (The Blackwell
ftoc.indd viii 6/5/10 10:15:56 AM 30 ROCK AND PHILOSOPHY ffirs.indd i 6/5/10 10:15:35 AM The Blackwell Philosophy and Pop Culture Series Series Editor: William Irwin South Park and Philosophy X-Men and Philosophy Edited by Robert Arp Edited by Rebecca Housel and J. Jeremy Wisnewski Metallica and Philosophy Edited by William Irwin Terminator and Philosophy Edited by Richard Brown and Family Guy and Philosophy Kevin Decker Edited by J. Jeremy Wisnewski Heroes and Philosophy The Daily Show and Philosophy Edited by David Kyle Johnson Edited by Jason Holt Twilight and Philosophy Lost and Philosophy Edited by Rebecca Housel and Edited by Sharon Kaye J. Jeremy Wisnewski 24 and Philosophy Final Fantasy and Philosophy Edited by Richard Davis, Jennifer Edited by Jason P. Blahuta and Hart Weed, and Ronald Weed Michel S. Beaulieu Battlestar Galactica and Iron Man and Philosophy Philosophy Edited by Mark D. White Edited by Jason T. Eberl Alice in Wonderland and The Offi ce and Philosophy Philosophy Edited by J. Jeremy Wisnewski Edited by Richard Brian Davis Batman and Philosophy True Blood and Philosophy Edited by Mark D. White and Edited by George Dunn and Robert Arp Rebecca Housel House and Philosophy Mad Men and Philosophy Edited by Henry Jacoby Edited by Rod Carveth and Watchman and Philosophy James South Edited by Mark D. White ffirs.indd ii 6/5/10 10:15:36 AM 30 ROCK AND PHILOSOPHY WE WANT TO GO TO THERE Edited by J. Jeremy Wisnewski John Wiley & Sons, Inc. ffirs.indd iii 6/5/10 10:15:36 AM To pages everywhere . -
As the Cult Hitunbreakable Kimmy Schmidt Returns For
AS THE CULT HIT UNBREAKABLE KIMMY SCHMIDT RETURNS FOR ITS SECOND SEASON, EW GOES ON SET TO WATCH THE WORLD’S MOST RESILIENT MOLE WOMAN AND HER DYSFUNCTIONAL FOUND FAMILY FACE A BRAND-NEW BARRAGE OF BONKERS. BY MARC SNETIKER @marcsnetiker Ellie Kemper APRIL 1/8, 2016 EW.COM 51 the show for a year and then not seeing it, how what’s happened to you before plays not knowing how people reacted, not even out now and what it does to your ability to knowing if it would be on TV,” says Kemper, find happiness and success in the future.” 35. (Kimmy was slated to air on NBC in For some, the past offers something to spring 2015 but was shuffled over to Net- be recaptured: Nutjob landlady Lillian flix.) “Coming back for season 2, there’s a (Carol Kane) will combat gentrification and very motivating, positive feeling knowing a try to restore her beloved neighborhood to tone has been struck that’s resonating with its former glory, while Krakowski’s recently people. The first year was kind of like giving divorced socialite Jacqueline stoops to new birth—maybe awkward? And painful? But lows to regain the highs of the wealth and Burgess shines never bloody!” Burgess, who plays Kimmy’s social status she lost in her divorce. in the viral video for stylish diva roommate Titus, offers a differ- For Titus, whose escape from Mississippi “Peeno Noir” PEENO, ent metaphor: “The house is built; now is explored in the season premiere, his jour- PART 2? you’ve got to go pick out furniture and ney is one of reinvention: A promising love arrange for a housewarming party.” story will dominate his arc this year, thanks IN SEASON 1, Titus’ hyper-absurd music video The atmosphere on season 2 isn’t quite a to a lucky gentleman (whom viewers briefly “Peeno Noir” became a party but more like a high school gradua- met in season 1) who gets the outlandish sensation—so much so, the video’s clocked tion when you haven’t yet declared a major: wannabe superstar to strip away those almost 1.5 million views on Kemper’s character has largely left the emotional pashminas. -
Atlantic Broadband Launches HBO GO Through DVR Powered by Tivo, Giving Customers Instant Access to Acclaimed HBO Programming
Atlantic Broadband Launches HBO GO through DVR Powered by TiVo, Giving Customers Instant Access to Acclaimed HBO Programming Quincy, Mass. April 20, 2016 – Atlantic Broadband today announced the launch of HBO GO®, the authenticated streaming service from HBO®, through its DVR powered by TiVo®. The addition of the HBO GO app on Atlantic Broadband’s TiVo service enables TiVo users who are active HBO linear subscribers with 24/7 unlimited access to HBO’s entire library including every episode of every season of original series, Hollywood movies, sports, documentaries, and other premium content. Furthermore, HBO GO content is integrated into TiVo Search and TiVo’s OnePass™ selections, thereby giving TiVo users a way to access an even more comprehensive catalog faster than ever before. “In advance of the return of HBO’s most popular series ever – Game of Thrones® – Atlantic Broadband is excited to offer HBO subscribers the opportunity to watch every episode of the past five seasons plus enjoy the new season on the best screen in their house – their TV screen,” said Atlantic Broadband’s President and Chief Revenue Officer, David Isenberg. “It’s never been easier for customers to access the content they want, when they want it.” HBO GO allows authenticated HBO subscribers to instantly watch HBO’s amazing line up of envelope- pushing series including Game of Thrones®, Silicon Valley®, VEEP® and Last Week Tonight with John Oliver SM, as well as recent seasons of Vinyl SM, Girls®, Togetherness® and The Leftovers® and other current uncensored programming like Confirmation, Animals., and The Jinx. HBO GO also features every episode of every season of HBO classics worth seeing again like The Sopranos®, Sex and the City®, True Blood®, The Wire® and Deadwood®, in addition to must-see box office blockbusters like Jurassic World (debuting Saturday April 24), Trainwreck, Mad Max, Furious 7, Spy and Pitch Perfect 2, and coming soon—The Martian, Ted 2, The Maze Runner: Scorch Trials, The Intern and The Man from U.N.C.L.E. -
Hunter Oil 1130 West Us 90 386-752-5890 Visit Your Local Chevron Station 2A Friday, November 16, 2018 Local Lake Cityreporter
A4 + PLUS >> REPORT: Suspect left note leading cops to body, Story below SOFTBALL SIGNING FOOTBALL PLAYOFFS Giebeig inks CHS vs. Lee with Liberty in Round 2 See Page 1B See Page 1B WEEKEND EDITION FRIDAY & SATURDAY, NOVEMBER 16 & 17, 2018 | YOUR COMMUNITY NEWSPAPER SINCE 1874 | $1.00 Lake City Reporter LAKECITYREPORTER.COM SENATE, Recount seals the deal AG COMM for new GOP governor 3A Hand recount Friday Festive Five to start Enjoy live entertain- DESANTIS WINS ment between 4 p.m. and 8 p.m. and vote for today your favorite perfor- mance at the The Lake County canvassing City Mall’s Festive Five, Don’t call it ‘Scum Island’ board to begin work a five-night event to kick at 8:30 this morning. off the holiday season. It runs through today. At 5 p.m., Troupe 2934 will By CARL MCKINNEY perform and 6 p.m., the [email protected] DFC Dance Studio takes the stage. After finishing the state-mandated machine Saturday recounts in the governor, Senate and agriculture com- Honoring veterans missioner races, county elec- From 12 p.m. to 2 tion officials must move on p.m. at the Columbia to a hand recount in Senate County Fairgrounds and agriculture commissioner Entertainment Building, contests. Louise “Miss Wezzie” The county’s canvassing Huelskamp hosts board meets at 8:30 a.m. today “Honoring Those Who to manually go over the “out- Served,” featuring a barbe- stacked” ballots, under and cue lunch, guest speakers overvotes identified during and entertainment. The the machine recounts. free event is for local vet- An overvote is when a voter erans and their spouses selects more than one option, and/or caregivers. -
Teaching HBO's the Wire July 2011
Teaching HBO’s The Wire July 2011 Teaching HBO’s The Wire Dr. Andrew Moore, St. Thomas University Author’s Contact Information Dr. Andrew Moore Assistant Professor Great Books Programme St. Thomas University, Fredericton, NB, E3B-5G3 Phone: (506) 292-5007 email: [email protected] Abstract: My intention in this paper is to address some of the challenges and advantages of incorporating television programming into a traditional liberal arts course, drawing upon my own experience teaching the third season of HBO’s crime drama The Wire. First appearing on HBO in 2002, The Wire’s incisive and expansive analysis of contemporary urban communities has increasingly made it a subject of scholarly interest. My argument here is that the series is culturally significant and potentially useful in a wide variety of courses on diverse subjects. However, there are problems with teaching television at the university level, such as limited class time, and students unaccustomed to critically engaging with the medium. I describe how my class addressed those challenges, and suggest ways other teachers might overcome them when teaching The Wire or any other television program. Also, citing student reactions to The Wire from our course blog, I outline the key lessons our class was able to derive from the series. Their comments suggest the wide array of pedagogical possibilities for HBO’s critically acclaimed crime drama, and for television more generally. Key Words: The Wire, crime drama, teaching television, student blog, justice, urban studies. Introduction There is no convenient way to use television programs in university classrooms. Our timetables are built around the notion that we are using print medium and or lecture.