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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. -
Twin Peaks #1.003
TWIN PEAKS #1.003 by Harley Peyton FIRST DRAFT: September 26, 1989 REVISIONS: October 3, 1989 Converted to PDF by Andre for PDFSCREENPLAYS.NET ACT ONE FADE IN: EXT. GREAT NORTHERN HOTEL - DAY Morning breaks over the stately hotel. CUT TO: INT. GREAT NORTHERN DINING ROOM - DAY DALE COOPER, at the corner table, takes a sip of coffee and orders breakfast from waitress TRUDY. COOPER Shortstack of griddlecakes, maple syrup, lightly heated and a slice of ham. Nothing beats the taste of maple syrup when it collides with ham. TRUDY Griddlecakes, side a' ham. Warmup? Cooper nods appreciatively. Trudy refills his cup, exits. Cooper takes a sip, nearly hums with approval. Then looks up to find AUDREY HORNE standing before him. Audrey smiles, beautiful, rubs a little sleep out of her eyes. AUDREY Good morning, Colonel Cooper. COOPER Just Agent, Audrey. Special Agent. AUDREY (caressing the words) Special Agent. COOPER Please. Sit down. AUDREY (unsure) I'm in a hurry. COOPER For what? She doesn't know what to say or do. So she offers a nervous shrug instead. 2. COOPER (CONT'D) Audrey, that perfume you're wearing is incredible. AUDREY Do you really think so? Cooper takes a pen from his pocket, hands it to her with a napkin. COOPER Write your name down for me. AUDREY (eager) Okay. She takes the pen and writes carefully, hands it back to Cooper. He looks at it. COOPER Audrey, there's something you'd like to tell me. AUDREY (blushing) There is? Beat. All she wants is to be close to him. -
Twin Peaks’ New Mode of Storytelling
ARTICLES PROPHETIC VISIONS, QUALITY SERIALS: TWIN PEAKS’ NEW MODE OF STORYTELLING MIKHAIL L. SKOPTSOV ABSTRACT Following the April 1990 debut of Twin Peaks on ABC, the TV’, while disguising instances of authorial manipulation evi- vision - a sequence of images that relates information of the dent within the texts as products of divine internal causality. narrative future or past – has become a staple of numerous As a result, all narrative events, no matter how coincidental or network, basic cable and premium cable serials, including inconsequential, become part of a grand design. Close exam- Buffy the Vampire Slayer(WB) , Battlestar Galactica (SyFy) and ination of Twin Peaks and Carnivàle will demonstrate how the Game of Thrones (HBO). This paper argues that Peaks in effect mode operates, why it is popular among modern storytellers had introduced a mode of storytelling called “visio-narrative,” and how it can elevate a show’s cultural status. which draws on ancient epic poetry by focusing on main char- acters that receive knowledge from enigmatic, god-like figures that control his world. Their visions disrupt linear storytelling, KEYWORDS allowing a series to embrace the formal aspects of the me- dium and create the impression that its disparate episodes Quality television; Carnivale; Twin Peaks; vision; coincidence, constitute a singular whole. This helps them qualify as ‘quality destiny. 39 SERIES VOLUME I, SPRING 2015: 39-50 DOI 10.6092/issn.2421-454X/5113 INTERNATIONAL JOURNAL OF TV SERIAL NARRATIVES ISSN 2421-454X ARTICLES > MIKHAIL L. SKOPTSOV PROPHETIC VISIONS, QUALITY SERIALS: TWIN PEAKS’ NEW MODE OF STORYTELLING By the standards of traditional detective fiction, which ne- herself and possibly The Log Lady, are visionaries as well. -
Feature Films
Libraries FEATURE FILMS The Media and Reserve Library, located in the lower level of the 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. 10 Things I Hate About You DVD-0812 27 Dresses DVD-8204 1000 Eyes of Dr. Mabuse DVD-0048 28 Days Later DVD-4333 10th Victim DVD-5591 DVD-6187 12 DVD-1200 28 Weeks Later c.2 DVD-4805 c.2 12 and Holding DVD-5110 3 Women DVD-4850 12 Angry Men DVD-0850 3 Worlds of Gulliver DVD-4239 12 Monkeys DVD-3375 3:10 to Yuma DVD-4340 12 Years a Slave DVD-7691 30 Days of Night DVD-4812 1776 DVD-0397 300 DVD-6064 1900 DVD-4443 35 Shots of Rum DVD-4729 1984 (Hurt) DVD-4640 39 Steps DVD-0337 DVD-6795 4 Little Girls DVD-0051 1984 (Obrien) DVD-6971 400 Blows DVD-0336 2 Autumns, 3 Summers DVD-7930 42 DVD-5254 2 or 3 Things I Know About Her DVD-6091 50 First Dates DVD-4486 20 Million Miles to Earth DVD-3608 500 Years Later DVD-5438 2001: A Space Odyssey DVD-0260 61 DVD-4523 2010: The Year We Make Contact DVD-3418 70's DVD-0418 2012 DVD-4759 7th Voyage of Sinbad DVD-4166 2012 (Blu-Ray) DVD-7622 8 1/2 DVD-3832 21 Up South Africa DVD-3691 8 Mile DVD-1639 24 Season 1 (Discs 1-3) DVD-2780 Discs 9 to 5 DVD-2063 25th Hour DVD-2291 9.99 DVD-5662 9/1/2015 9th Company DVD-1383 Adventures of Ozzie and Harriet DVD-0831 A.I. -
34Fb838c108c681d14cd3ad36994a0a5.Pdf
WHAT IS START-UP? START UP is a television program that offers its viewers an up-close and personal look into the world of the modern American entrepreneur. As complicated as starting a business may seem, START UP attempts to demystify the process by sharing the real life experiences of average Americans who are taking control of their own destiny. With a hip, modern style and a unique approach to traditional interview-based television, START UP is a truly original show that intends to inspire, educate and entertain viewers in a way that is neither dramatized nor exaggerated. It offers a sense of integrity that the producer’s feel is missing in mainstream reality television today. Start Up Season One, sponsored by General Motors, American Express and Walsh College, began airing on September 16, 2013 with a very strong national carriage. The show is airing in over 50% of U.S. households and is expected to reach over 80% of U.S. households by January 2014. With several markets waiting to schedule the program in a prime- time position in January, the show is being very well received by PBS (PTV) Program Directors all over the country. The carriage numbers we’ve received are rare for a first season program, and we are expecting to only increase our carriage into Season 2 and 3. As we are committed to an initial 3 year broadcast contract, we will embark on production of Season 2 on February 1, 2014. We appreciate the continued support of our program and look forward to being able to provide you mass exposure both on-air and online to further the message of your high quality brand. -
ARTH7 Gender, Race, Sexuality: Episodes in Modernism 1900-1945 Professor David Getsy First-Year Seminar, Department of Art Histo
ARTH7 G e n d e r , R a c e , S e x u a l i t y : E p i s o d e s i n M o d e r n i s m 1 9 0 0 - 1 9 4 5 Professor David Getsy First-year seminar, Department of Art History, Dartmouth College Winter 2003 • 10A / 10.00-11.50 Tuesday Thursday / x-hour 3.00-3.50 Wednesday office hours: 1.00-2.30 Tuesday / office: 307 Carpenter Hall c o u r s e d e s c r i p t i o n This discussion-based, writing-intensive seminar will introduce key concepts for modernism in the visual arts and will stress current critical approaches to the study of visual culture. Focusing on the development of modernism in the first half of the twentieth century in Europe and America, we will explore a series of episodes in which artists and critics engaged with questions of gender, race, sexuality, and identity. We will examine cases in which artists and critics subverted or critiqued cultural norms as well as cases in which the work of modernist artists reflected and relied upon dominant assumptions about race, sexuality, and gender. Themes studied will include: primitivism, gender performance, the politics of museum display, feminism in history and scholarship, cultural hybridity, the role of subcultures, and the politics of representation. Artists and movements discussed will include Picasso, Duchamp, Vorticism, Harlem Renaissance, Cadmus, Kahlo, Hepworth, and Surrealism. s t r u c t u r e o f t h e c o u r s e Each two-hour session will be focused primarily on discussion of images, texts, and course themes. -
British History, Tradition and Culture Parliament and Government
British history, tradition and culture What should you watch? What does it tell you about? What is the format? Where can you watch it? Andrew Marr’s History of How has Britain changed since 1945 and what role has Television documentary Available as part of a DVD box set from Amazon Modern Britain politics played in that process? Five one-hour episodes from £26.37 or as a standalone DVD from £17.84 Television drama The reign of Queen Elizabeth II and major events during Three series The Crown this period. How the monarchy, government and politics Available on Netflix Ten episodes per series interact is a key feature of this series. 45-60 minutes per episode Parliament and Government What should you watch? What does it tell you about? What is the format? Where can you watch it? A behind-the-scenes look at the work of Members of Television documentary Inside the Commons Available on DVD from Amazon for £12.64 Parliament and House of Commons officials Four one-hour episodes Like Inside the Commons, this follows some larger-than- Currently being shown on London Live, which you Television documentary Meet the Lords life characters in the House of Lords, one of Britain’s may be able to watch via Sky, Virgin, YouView or Three one-hour episodes oldest, most eccentric and important institutions. Freeview – details here Two episodes are currently available on YouTube Michael Cockerell uncovers the workings of the Home Home Office: The Dark Department The Great Offices of Television documentary Office, the Foreign & Commonwealth Office and the Foreign -
Twin Peaks at Twenty-Five
IN FOCUS: Returning to the Red Room—Twin Peaks at Twenty-Five Foreword by DAVID LAVERY or Twin Peaks (ABC, 1990–1991), 2015 was a damn fine year. The last annum has seen the completion of a new collection of critical essays ( Jeffrey Weinstock and Catherine Spooner’s Return to “Twin Peaks”: New Approaches to Theory & Genre in Television), an international conference in the United Kingdom (“ ‛I’ll See You Again Fin 25 Years’: The Return of Twin Peaks and Generations of Cult TV” at the University of Salford), and the current In Focus.1 Not coincidently, this has transpired alongside the commissioning of the return of the series on the American premium cable channel Showtime for a 2017 debut. Long before this Twin Peaks renaissance, the place of David Lynch and Mark Frost’s “quirky quality” series in TV history was, however, already secure.2 As the creator of the iconic series Mad Men, Matthew Weiner, now fifty years old, put it definitively: “I was already out of college when Twin Peaks came on, and that was where I became aware of what was possible on television.”3 Twin Peaks has played a central role as well in our understanding of what is possible in television studies. As I have written and spoken about elsewhere, the collection Full of Secrets: Critical Approaches to “Twin 1 See Jeffrey Weinstock and Catherine Spooner, eds., Return to “Twin Peaks”: New Approaches to Materiality, Theory, and Genre on Television (Basingstoke, UK: Palgrave Macmillan, 2015). For a review of the conference, see Ross Garner, “Conference Review: “‘I’ll See You Again in 25 Years’: The Return of Twin Peaks and Generations of Cult TV”: University of Salford, 21–22 May 2015,” Critical Studies in Television Online, June 5, 2015, http://cstonline.tv/twin-peaks. -
Laboratorio Dell'immaginario 30 Anni Di Twin Peaks
laboratorio dell’immaginario issn 1826-6118 rivista elettronica http://archiviocav.unibg.it/elephant_castle 30 ANNI DI TWIN PEAKS a cura di Jacopo Bulgarini d’Elci, Jacques Dürrenmatt settembre 2020 CAV - Centro Arti Visive Università degli Studi di Bergamo LUCA MALAVASI “Do you recognize that house?” Twin Peaks: The Return as a process of image identification In the fourth episode of the new season of Twin Peaks (2017), also known as Twin Peaks: The Return, Bobby Briggs – formerly a young loser and wrangler, and now a deputy at the Twin Peaks Sheriff’s Department – meets Laura Palmer, his high school girlfriend. Her photographic portrait, previously displayed among the trophies and other photos in a cabinet at the local high school they attended (we see it at the beginning of the first episode),1 sits on the table of a meeting room. It had been stored in one of the two containers used to hold the official documents in the investigation into Lau- ra’s murder; like two Pandora’s boxes, these containers have been opened following a statement from the Log: “Something is missing”. That ‘something’ – Margaret Lanterman (‘The Log Lady’) clarifies to deputy Hawk – concerns Agent Cooper and, consequently, his investigation into Laura Palmer’s death. The scene is rather moving, not least because, after four episodes, viewers finally hear the famous and touching Laura Palmer’s theme for the first time.2 As the music starts, we see Bobby’s face, having entered the meeting room where Frank Truman, Tommy Hawks, Lucy, and Andy are gathered. He literally freezes in front of Lau- ra’s framed image, and a ‘dialog’ begin between the two ex-lovers; 1 It’s the same portrait showed at the beginning of the first season, actually the portrait of Laura Palmer. -
Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room. -
STORIES Amsterdam University Press
Stories are perceived as central to modern life. Not THE KEY DEBATES 7 only in narrative entertainment media, such as THE KEY DEBATES television, cinema, theater, but also in social Mutations and Appropriations in media. Telling/having “a story” is widely deemed essential, in business as well as in social life. Does European Film Studies this mark an intensifi cation of what has always been part of human cultures; or has the realm of The Key Debates is a fi lm series “story” expanded to dominate twenty-fi rst century from Amsterdam University discourse? Addressing stories is an obvious priority Press. The series’ ambition for the Key Debates series, and Volume 7, edited is to uncover the processes by Ian Christie and Annie van den Oever, identifi es of appropriation and diffusion new phenomena in this fi eld – complex narration, of key concepts that have puzzle fi lms, transmedia storytelling – as well as shaped Film Studies. The new approaches to understanding these, within series editors are: Ian Christie, narratology and bio-cultural studies. Chapters Dominique Chateau, José Moure STORIES on such extended television series as Twin Peaks, and Annie van den Oever. Game of Thrones and Dickensian explore distinctively new forms of screen storytelling in European Film Studies Mutations and Appropriations in the digital age. Contributions by: THE KEY DEBATES Vincent Amiel “ There are very few book series that fully keep to what they Jan Baetens promised, as the ‘Key Debates’ does. An incredible effort Dominique Chateau in critically covering wide regions of our fi eld – with their Ian Christie traditional assets and their sudden innovations. -
A Storypath Exploring the Lasting Legacy of Celilo Falls
Living in Celilo – A Storypath Exploring the Lasting Legacy of Celilo Falls By Shana Brown Office of Native Education/Office of Superintendent of Public Instruction Washington State In cooperation with Trillium Publishing, Inc. Acknowledgements Shana Brown would like to thank: Carol Craig, Yakama Elder, writer, and historian, for her photos of Celilo as well as her expertise and her children’s story, “I Wish I Had Seen the Falls.” Chucky is really her first grandson (and my cousin). The Columbia River Inter-tribal Fish Commission for providing information about their organization and granting permission to use articles, including a piece from their magazine, Wana Chinook Tymoo. HistoryLink.org for granting permission to use the article, “Dorothea Nordstrand Recalls Old Celilo Falls.” The Northwest Power and Conservation Council for granting permission to use an excerpt from the article, “Celilo Falls.” Ritchie Graves, Chief of the NW Region Hydropower Division’s FCRPS Branch, NOAA Fisheries, for providing information on survival rates of salmon through the dams on the Columbia River system. Sally Thompson, PhD., for granting permission to use her articles. Se-Ah-Dom Edmo, Shoshone-Bannock/Nez Perce/Yakama, Coordinator of the Indigenous Ways of Knowing Program at Lewis and Clark College, Columbia River Board Member, and Vice- President of the Oregon Indian Education Association, for providing invaluable feedback and guidance as well as copies of the actual notes and letters from the Celilo Falls Community Club. The Oregon Historical Society for granting permission to use articles from the Oregon Historical Quarterly. The Oregon Historical Society Research Library Moving Image Collections for granting permission to use video material.