10 Years of Lave & Shows
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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. -
Author to Donate Proceeds from Film Adaptation to Alzeheimer's Research
Author to donate proceeds from film adaptation to Alzeheimer’s research ADVOCATE STAFF REPORT Feb. 16, 2016; 0:30 p.m. An LSU Health Sciences Center doctor who wrote a novel about a New Orleans street musician suffering from memory loss and a neuroscientist intent on helping her is donating 70 percent of the money he makes from a movie based on the book to Alzheimer’s research. “I am rewarded because my efforts to bring to the community the magnitude of the problem of Alzheimer’s and dementia will reach a wider audience,” said Dr. Nicolas Bazan, professor and director of the Neuroscience Center of Excellence at LSU Health New Orleans. As part of a national art house theater tour, the movie “Of Mind and Music” has a special run through Thursday, at the Zeitgeist Multi-Disciplinary Arts Center, 1618 Oretha Castle Haley Blvd. It will screen at 6 p.m. The film has won more than 12 awards on the festival circuit, including five audience awards, three best actress awards for Aunjanue Ellis, two jury awards for best director and several jury awards for best feature film. “Of Mind and Music” stars Ellis (“Quantico,” “The Book of Negroes,” “Men of Honor,” “The Help,” “Ray”), Joaquim de Almeida (“Our Brand Is Crisis,” “Desperado,” “Fast Five,” “Clear and Present Danger”), Bill Cobbs (“Night at the Museum,” “Oz the Great and Powerful,” “The Bodyguard”), Sharon Lawrence (“NYPD Blue,” “Grey’s Anatomy”) and Ruth Negga (“Marvel’s Agents of S.H.I.E.L.D.,” “World War Z,” “The Samaritan”). For information about the screenings, visit zeitgeistnola.org/. -
Driving Miss Daisy Flame.Indd
Women’s Health CLINIC FEBRUARY 2014 SEASON | YEAR A NEWSLETTER DEDICATED TO GROUPS, ORGANIZATIONS AND FRIENDS OF THE FIRESIDE THEATRE A Hilarious, Heartwarming Must-See FOR OVER THREE DECADES THE FIRESIDE HAS BEEN KNOWN FOR PRODUCING BIG, BRIGHT MUSICAL COMEDIES AND SPECTACULAR MUSICAL REVUES. MUSICAL THEATRE HAS BEEN MY SPECIALTY AND MY PASSION SINCE I SAW MY FIRST BROADWAY MUSICAL AT AGE 6. I TAKE GREAT PRIDE WHENEVER SOMEONE MARVELS AT HOW WE CAN TAKE A BIG BROADWAY MUSICAL AND PUT IT ON OUR SMALL ARENA STAGE WITHOUT LOSING ANY OF ITS WONDER. MUSICALS HAVE BEEN, WITHOUT A DOUBT, THE MAIN DISH ON THE FIRESIDE’S THEATRICAL MENU SINCE WE FIRST OPENED. Then why is it that one of the most I am very excited about directing our popular shows in Fireside history (as well production of this unforgettable play this as in theatrical history) is a three person spring. I have directed DRIVING MISS play about an elderly white woman, her DAISY twice before – once here and aging African American chauffer, and once in a theatre in Ohio and I can her beleaguered middle aged son told honestly say that of all the wonderful simply without a song or a dance in sight. shows I have directed in my 45+ years Is it because we see ourselves and our as a professional director that no other loved ones in this heart-warming tale? Is play has touched my heart more deeply “ Millions of people rank this it because it is hilariously funny without than DAISY. And I am not alone. -
Literariness.Org-Mareike-Jenner-Auth
Crime Files Series General Editor: Clive Bloom Since its invention in the nineteenth century, detective fiction has never been more pop- ular. In novels, short stories, films, radio, television and now in computer games, private detectives and psychopaths, prim poisoners and overworked cops, tommy gun gangsters and cocaine criminals are the very stuff of modern imagination, and their creators one mainstay of popular consciousness. Crime Files is a ground-breaking series offering scholars, students and discerning readers a comprehensive set of guides to the world of crime and detective fiction. Every aspect of crime writing, detective fiction, gangster movie, true-crime exposé, police procedural and post-colonial investigation is explored through clear and informative texts offering comprehensive coverage and theoretical sophistication. Titles include: Maurizio Ascari A COUNTER-HISTORY OF CRIME FICTION Supernatural, Gothic, Sensational Pamela Bedore DIME NOVELS AND THE ROOTS OF AMERICAN DETECTIVE FICTION Hans Bertens and Theo D’haen CONTEMPORARY AMERICAN CRIME FICTION Anita Biressi CRIME, FEAR AND THE LAW IN TRUE CRIME STORIES Clare Clarke LATE VICTORIAN CRIME FICTION IN THE SHADOWS OF SHERLOCK Paul Cobley THE AMERICAN THRILLER Generic Innovation and Social Change in the 1970s Michael Cook NARRATIVES OF ENCLOSURE IN DETECTIVE FICTION The Locked Room Mystery Michael Cook DETECTIVE FICTION AND THE GHOST STORY The Haunted Text Barry Forshaw DEATH IN A COLD CLIMATE A Guide to Scandinavian Crime Fiction Barry Forshaw BRITISH CRIME FILM Subverting -
Bad Cops: a Study of Career-Ending Misconduct Among New York City Police Officers
The author(s) shown below used Federal funds provided by the U.S. Department of Justice and prepared the following final report: Document Title: Bad Cops: A Study of Career-Ending Misconduct Among New York City Police Officers Author(s): James J. Fyfe ; Robert Kane Document No.: 215795 Date Received: September 2006 Award Number: 96-IJ-CX-0053 This report has not been published by the U.S. Department of Justice. To provide better customer service, NCJRS has made this Federally- funded grant final report available electronically in addition to traditional paper copies. Opinions or points of view expressed are those of the author(s) and do not necessarily reflect the official position or policies of the U.S. Department of Justice. This document is a research report submitted to the U.S. Department of Justice. This report has not been published by the Department. Opinions or points of view expressed are those of the author(s) and do not necessarily reflect the official position or policies of the U.S. Department of Justice. Bad Cops: A Study of Career-Ending Misconduct Among New York City Police Officers James J. Fyfe John Jay College of Criminal Justice and New York City Police Department Robert Kane American University Final Version Submitted to the United States Department of Justice, National Institute of Justice February 2005 This project was supported by Grant No. 1996-IJ-CX-0053 awarded by the National Institute of Justice, Office of Justice Programs, U.S. Department of Justice. Points of views in this document are those of the authors and do not necessarily represent the official position or policies of the U.S. -
30 Rock: Complexity, Metareferentiality and the Contemporary Quality Sitcom
30 Rock: Complexity, Metareferentiality and the Contemporary Quality Sitcom Katrin Horn When the sitcom 30 Rock first aired in 2006 on NBC, the odds were against a renewal for a second season. Not only was it pitched against another new show with the same “behind the scenes”-idea, namely the drama series Studio 60 on the Sunset Strip. 30 Rock’s often absurd storylines, obscure references, quick- witted dialogues, and fast-paced punch lines furthermore did not make for easy consumption, and thus the show failed to attract a sizeable amount of viewers. While Studio 60 on the Sunset Strip did not become an instant success either, it still did comparatively well in the Nielson ratings and had the additional advantage of being a drama series produced by a household name, Aaron Sorkin1 of The West Wing (NBC, 1999-2006) fame, at a time when high-quality prime-time drama shows were dominating fan and critical debates about TV. Still, in a rather surprising programming decision NBC cancelled the drama series, renewed the comedy instead and later incorporated 30 Rock into its Thursday night line-up2 called “Comedy Night Done Right.”3 Here the show has been aired between other single-camera-comedy shows which, like 30 Rock, 1 | Aaron Sorkin has aEntwurf short cameo in “Plan B” (S5E18), in which he meets Liz Lemon as they both apply for the same writing job: Liz: Do I know you? Aaron: You know my work. Walk with me. I’m Aaron Sorkin. The West Wing, A Few Good Men, The Social Network. -
Blacks Reveal TV Loyalty
Page 1 1 of 1 DOCUMENT Advertising Age November 18, 1991 Blacks reveal TV loyalty SECTION: MEDIA; Media Works; Tracking Shares; Pg. 28 LENGTH: 537 words While overall ratings for the Big 3 networks continue to decline, a BBDO Worldwide analysis of data from Nielsen Media Research shows that blacks in the U.S. are watching network TV in record numbers. "Television Viewing Among Blacks" shows that TV viewing within black households is 48% higher than all other households. In 1990, black households viewed an average 69.8 hours of TV a week. Non-black households watched an average 47.1 hours. The three highest-rated prime-time series among black audiences are "A Different World," "The Cosby Show" and "Fresh Prince of Bel Air," Nielsen said. All are on NBC and all feature blacks. "Advertisers and marketers are mainly concerned with age and income, and not race," said Doug Alligood, VP-special markets at BBDO, New York. "Advertisers and marketers target shows that have a broader appeal and can generate a large viewing audience." Mr. Alligood said this can have significant implications for general-market advertisers that also need to reach blacks. "If you are running a general ad campaign, you will underdeliver black consumers," he said. "If you can offset that delivery with those shows that they watch heavily, you will get a small composition vs. the overall audience." Hit shows -- such as ABC's "Roseanne" and CBS' "Murphy Brown" and "Designing Women" -- had lower ratings with black audiences than with the general population because "there is very little recognition that blacks exist" in those shows. -
Driving Miss Daisy – Mother &
Driving Miss Daisy 1 In the dark we hear a car ignition turn on, and then a horrible crash. Bangs and booms and wood splintering. When the noise is very loud, it stops suddenly and the lights come up on Daisy Werthan’s living room, or a portion thereof. Daisy, age 72, is wearing a summer dress and high heeled shoes. Her hair, her clothes, her walk, everything about her suggests bristle and feist and high energy. She appears to be in excellent health. Her son, Boolie Werthan 40, is a businessman, Junior Chamber of Commerce style. He has a strong capable air. The Werthans are Jewish, but they have strong Atlanta accents. DAISY. No! BOOLIE. Mama! DAISY. No! BOOLE. Mama! DAISY. I said no, Boolie, and that’s the end of it. BOOLIE. It’s a miracle you’re not laying in Emory Hospital---- or decked out at the funeral home. Look at you! You didn’t even break your glasses. DAISY. It was the car’s fault. BOOLIE. Mama, the car didn’t just back over the driveway and land on the Pollard’s garage all by itself. You had it in the wrong gear. DAISY. I did not! BOOLIE. You put it in reverse instead of drive. The police report shows that. DAISY. You should have let me keep my La Salle. BOOLIE. Your La Salle was eight years old. DAISY. I don’t care. It never would have behaved this way. And you know it. BOOLIE. Mama, cars, don’t behave. They are behaved upon. The fact is you, all by yourself, demolished that Packard. -
Television Shows
Libraries TELEVISION SHOWS The Media and Reserve Library, located on the lower level west wing, has over 9,000 videotapes, DVDs and audiobooks covering a multitude of subjects. For more information on these titles, consult the Libraries' online catalog. 1950s TV's Greatest Shows DVD-6687 Age and Attitudes VHS-4872 24 Season 1 (Discs 1-3) DVD-2780 Discs Age of AIDS DVD-1721 24 Season 1 (Discs 1-3) c.2 DVD-2780 Discs Age of Kings, Volume 1 (Discs 1-3) DVD-6678 Discs 24 Season 1 (Discs 4-6) DVD-2780 Discs Age of Kings, Volume 2 (Discs 4-5) DVD-6679 Discs 24 Season 1 (Discs 4-6) c.2 DVD-2780 Discs Alfred Hitchcock Presents Season 1 DVD-7782 24 Season 2 (Discs 1-4) DVD-2282 Discs Alias Season 1 (Discs 1-3) DVD-6165 Discs 24 Season 2 (Discs 5-7) DVD-2282 Discs Alias Season 1 (Discs 4-6) DVD-6165 Discs 30 Days Season 1 DVD-4981 Alias Season 2 (Discs 1-3) DVD-6171 Discs 30 Days Season 2 DVD-4982 Alias Season 2 (Discs 4-6) DVD-6171 Discs 30 Days Season 3 DVD-3708 Alias Season 3 (Discs 1-4) DVD-7355 Discs 30 Rock Season 1 DVD-7976 Alias Season 3 (Discs 5-6) DVD-7355 Discs 90210 Season 1 (Discs 1-3) c.1 DVD-5583 Discs Alias Season 4 (Discs 1-3) DVD-6177 Discs 90210 Season 1 (Discs 1-3) c.2 DVD-5583 Discs Alias Season 4 (Discs 4-6) DVD-6177 Discs 90210 Season 1 (Discs 4-5) c.1 DVD-5583 Discs Alias Season 5 DVD-6183 90210 Season 1 (Discs 4-6) c.2 DVD-5583 Discs All American Girl DVD-3363 Abnormal and Clinical Psychology VHS-3068 All in the Family Season One DVD-2382 Abolitionists DVD-7362 Alternative Fix DVD-0793 Abraham and Mary Lincoln: A House -
As Writers of Film and Television and Members of the Writers Guild Of
July 20, 2021 As writers of film and television and members of the Writers Guild of America, East and Writers Guild of America West, we understand the critical importance of a union contract. We are proud to stand in support of the editorial staff at MSNBC who have chosen to organize with the Writers Guild of America, East. We welcome you to the Guild and the labor movement. We encourage everyone to vote YES in the upcoming election so you can get to the bargaining table to have a say in your future. We work in scripted television and film, including many projects produced by NBC Universal. Through our union membership we have been able to negotiate fair compensation, excellent benefits, and basic fairness at work—all of which are enshrined in our union contract. We are ready to support you in your effort to do the same. We’re all in this together. Vote Union YES! In solidarity and support, Megan Abbott (THE DEUCE) John Aboud (HOME ECONOMICS) Daniel Abraham (THE EXPANSE) David Abramowitz (CAGNEY AND LACEY; HIGHLANDER; DAUGHTER OF THE STREETS) Jay Abramowitz (FULL HOUSE; MR. BELVEDERE; THE PARKERS) Gayle Abrams (FASIER; GILMORE GIRLS; 8 SIMPLE RULES) Kristen Acimovic (THE OPPOSITION WITH JORDAN KLEEPER) Peter Ackerman (THINGS YOU SHOULDN'T SAY PAST MIDNIGHT; ICE AGE; THE AMERICANS) Joan Ackermann (ARLISS) 1 Ilunga Adell (SANFORD & SON; WATCH YOUR MOUTH; MY BROTHER & ME) Dayo Adesokan (SUPERSTORE; YOUNG & HUNGRY; DOWNWARD DOG) Jonathan Adler (THE TONIGHT SHOW STARRING JIMMY FALLON) Erik Agard (THE CHASE) Zaike Airey (SWEET TOOTH) Rory Albanese (THE DAILY SHOW WITH JON STEWART; THE NIGHTLY SHOW WITH LARRY WILMORE) Chris Albers (LATE NIGHT WITH CONAN O'BRIEN; BORGIA) Lisa Albert (MAD MEN; HALT AND CATCH FIRE; UNREAL) Jerome Albrecht (THE LOVE BOAT) Georgianna Aldaco (MIRACLE WORKERS) Robert Alden (STREETWALKIN') Richard Alfieri (SIX DANCE LESSONS IN SIX WEEKS) Stephanie Allain (DEAR WHITE PEOPLE) A.C. -
Gunsmoke: an Investigation of Conversational Implicature and Guns & Ammo Magazine
California State University, San Bernardino CSUSB ScholarWorks Theses Digitization Project John M. Pfau Library 2002 Gunsmoke: An investigation of conversational implicature and Guns & Ammo magazine Kerry Lynn Winn Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd-project Part of the Rhetoric and Composition Commons Recommended Citation Winn, Kerry Lynn, "Gunsmoke: An investigation of conversational implicature and Guns & Ammo magazine" (2002). Theses Digitization Project. 2069. https://scholarworks.lib.csusb.edu/etd-project/2069 This Thesis is brought to you for free and open access by the John M. Pfau Library at CSUSB ScholarWorks. It has been accepted for inclusion in Theses Digitization Project by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. GUNSMOKE: AN INVESTIGATION OF CONVERSATIONAL IMPLICATURE AND GUNS & AMMO MAGAZINE A Thesis Presented to the Faculty of California State University, San Bernardino In Partial Fulfillment of the Requirements for the Degree Master of Arts in English Composition by Kerry Lynn Winn March 2002 GUNSMOKE: AN INVESTIGATION OF CONVERSATIONAL IMPLICATURE AND GUNS & AMMO MAGAZINE A Thesis Presented to the Faculty of California State University, San Bernardino by Kerry Lynn Winn March 2002 Approved by: Ph . D . , I Chair, Sunny Hyon English Date Rong Chen, Ph.D. ABSTRACT In the United States, numerous citizens fear that their Second Amendment right to bear arms will be obliterated. One text that discusses this issue is a popular gun enthusiast's magazine. Guns & Ammo. I will analyze this magazine's content through linguistics, particularly Grice's implicature. As a result I hope it will give me a better viewpoint of the gun community's perspective regarding firearms. -
Driving Miss Daisy
COPYRIGHTED MATERIAL FOR RESEARCH USE ONLY: MAY NOT BE DUPLICATED 2012.3.75 MAKING OF THE MOVIE DRIVING MISS DAISY (Transcript of television program The Real Miss Daisy, produced by WAGA-TV, Channel 5, Atlanta, and broadcast in 1990 on public television.) ANNOUNCER VOICE-OVER, with animated numeral 5 rotating and coming to a stop in the center of the screen: Your regular PBS programming will not be seen tonight so that we may bring you the following special program. ANNOUNCER VOICE-OVER: This program is presented as part of WAGA-TV’s year-long project, A World of Difference, in cooperation with the Anti-Defamation League of B’nai Brith and underwritten by Georgia Power Company and the Milken Foundation. ANNOUNCER VOICE-OVER, with title displayed onscreen: The Real Miss Daisy, brought to you by True Value Hardware, your store of first choice. ANNOUNCER (LISA CLARK) VOICE-OVER, with still shot of the three principal actors in Driving Miss Daisy: Dan Aykroyd, Jessica Tandy, and Morgan Freeman: This is the story about the story of three people and the world in which they lived. Screen changes from actors’ photograph to video of three presenters, WAGA-TV journalists: Jim Kaiserski on left, Lisa Clark in center, Ken Watts on right, standing next to vintage black Cadillac [the same one used in the film?] in front of WAGA-TV studios in Atlanta. JIM KAISERSKI: It’s a story about people, it’s a story about places, it’s a story about events that were real and some that weren’t. KEN WATTS: But reality isn’t the important point; truth is.