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Narrative Craft and Mass Appeal in the Newgate Calendar
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of New Orleans University of New Orleans ScholarWorks@UNO University of New Orleans Theses and Dissertations Dissertations and Theses 8-9-2006 Guilty Pleasures: Narrative Craft and Mass Appeal in the Newgate Calendar Aimee Rust University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/td Recommended Citation Rust, Aimee, "Guilty Pleasures: Narrative Craft and Mass Appeal in the Newgate Calendar" (2006). University of New Orleans Theses and Dissertations. 399. https://scholarworks.uno.edu/td/399 This Thesis is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Thesis has been accepted for inclusion in University of New Orleans Theses and Dissertations by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. Guilty Pleasures: Narrative Craft and Mass Appeal in the Newgate Calendar A Thesis Submitted to the Graduate Faculty of the University of New Orleans in partial fulfillment of the requirements for the degree of Master of Arts in English by Aimee Rust B.A., Beloit College, 1994 M.A., The University of Wisconsin-Milwaukee, 2002 August, 2006 Acknowledgements Several people made this project possible. -
Irony 23 2.5 Consumption Style: Secretly Serious 24 2.6 Consumption Style: Camp 25 2.7 Consumption Style: Guilty Pleasures 25 2.8 Conclusion 27
Distinction and Presentation with #guiltypleasure Twitter content analysis of ‘bad’ music and ‘real’ taste. by Liesbeth van der Vlegel ESHCC , Erasmus University Rotterdam 385478, [email protected] Supervisor: dr. P.P.L. Berkers Second reader: J. Michael MSc 08-06-2015 1 #CONTENTS Acknowledgements 5 1 Introduction 11 1.1 Theoretical relevance 11 1.2 Methodical relevance 13 1.3 Outline 14 2 Taste and Distinction 19 2.1 From Distinction to openness 19 2.2 Consumption styles 21 2.3 Consumption style: voraciousness 22 2.4 Consumption style: irony 23 2.5 Consumption style: secretly serious 24 2.6 Consumption style: camp 25 2.7 Consumption style: guilty pleasures 25 2.8 Conclusion 27 3 Taste and Presentation 29 3.1 The Presentation of Self 29 3.2 Goffman and social media 30 3.3 The imagined audience 32 3.4 Reflexive and unreflexive 32 3.5 The construction of hashtags 33 3.6 Conclusion and expectations 35 4 Methodology 39 4.1 Twitter 39 4.2 Twitter users 40 4.3 The constructed week 43 4.4 Data cleaning 44 4.5 Method of analysis 45 4.6 Different levels of analysis 47 5 Results 53 © LIESBETH VAN DER VLEGEL 5.1 Broad analysis 53 5.2 Ten topics complete sample 55 5.3 Hashtags per content category 56 2 3 5.4 Five topics per content category 57 5.4.1 Music 58 5.4.2 TV/movie 61 5.4.3 Food 64 ACKNOWLEDGEMENTS 5.4.4 Leisure time 66 5.4.5 Categories compared 67 5.5 Analysis content category ‘ways of presentation’ 68 5.6 The ways of presentation 71 I will not bother you with my troubles and difficulties during 5.6.1 Distancing by description 71 this thesis process. -
Queer Identities and Glee
IDENTITY AND SOLIDARITY IN ONLINE COMMUNITIES: QUEER IDENITIES AND GLEE Katie M. Buckley A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of Master of Music August 2014 Committee: Katherine Meizel, Advisor Kara Attrep Megan Rancier © 2014 Katie Buckley All Rights Reserved iii ABSTRACT Katherine Meizel, Advisor Glee, a popular FOX television show that began airing in 2009, has continuously pushed the limits of what is acceptable on American television. This musical comedy, focusing on a high school glee club, incorporates numerous stereotypes and real-world teenage struggles. This thesis focuses on the queer characteristics of four female personalities: Santana, Brittany, Coach Beiste, and Coach Sue. I investigate how their musical performances are producing a constructive form of mass media by challenging hegemonic femininity through camp and by producing relatable queer female role models. In addition, I take an ethnographic approach by examining online fan blogs from the host site Tumblr. By reading the blogs as a digital archive and interviewing the bloggers, I show the positive and negative effects of an online community and the impact this show has had on queer girls, allies, and their worldviews. iv This work is dedicated to any queer human being who ever felt alone as a teenager. v ACKNOWLEDGMENTS I would like to extend my greatest thanks to my teacher and advisor, Dr. Meizel, for all of her support through the writing of this thesis and for always asking the right questions to keep me thinking. I would also like to thank Dr. -
Self-Reflexivity in American
SELF-REFLEXIVITY IN AMERICAN TV SHOWS By Kriszta Pozsonyi Submitted to Central European University Department of Gender Studies In partial fulfillment for the degree of Master of Arts in Gender Studies. Supervisor: Professor Eszter Timár Budapest, Hungary CEU eTD Collection 2013 Abstract This thesis looks at two forms of self-reflexivity through examples from recent American television shows with the aim of exploring the queerness of the phenomena connected to it. The two forms to be discussed in detail are the doppelgänger or the double with examples from Dexter and Buffy the Vampire Slayer on the one hand, and the device of the mise en abyme with examples from Glee and Queer as Folk on the other. Through looking at the main theoretical concerns connected to self-reflexivity I show how closely related the concerns of queer theory and those of theories of self-reflexivity are. In analyzing the examples mentioned above, I will draw attention to how a queer theory perspective can provide for exciting ways of interpreting instances of self-reflexivity. CEU eTD Collection i Table of Contents ABSTRACT ................................................................................................................................................... I INTRODUCTION ........................................................................................................................................ 1 CHAPTER 1. THEORETICAL FRAMEWORKS OF SELF-REFLEXIVITY ..................................... 3 1.1 LITERARY THEORY FRAMEWORK ................................................................................................................. -
Glee Season 4 Episode
Glee Season 4 Episode Glee Season 4 Episode 1 / 2 Most notably was any Finn story lines occurring past season 4, since between ... In the recent episode, Burt Hummel, the father of openly gay high school glee .... Kelly is concerned and caring and has the ability to sing and dance; she was lead alto in a glee club. ... In an early episode, Kelly mentioned she was raised in Texas and learned to shoot from her father. ... When Jill left the series at the end of the first season to pursue her car racing career (she ... 21 Charlie's Angels • ¡4.. Watch Glee Season 4 Episode 21 online via TV Fanatic with over 7 options to watch the Glee S4E21 full episode. 4 Season 5: 71% It's finally here. Glee season .... About. 20. 2016-09-17 | Legends Rising Season 2: Episode 4 - Endurance by LoL Esports. 3x17 download . ... Password: gleeepsdownloads. 01 The Beantown .... "Glee" Audition (TV Episode 2010) Sep 21, 2010 · Directed by Brad Falchuk. With Dianna ... Glee - Season 4 - "Glee, Actually" - Jane Lynch. So, this is obviously more than a week late, but I don't even feel bad because that wasn't a Glee finale, per se, but a poorly cliffhangered .... Glee-season-2-episode-11-Super Bowl-special. Offering 30 unique mantel ... It was released on December 4, 2015, by Orion Pictures and Momentum Pictures.. TV Review of GLEE - Season 4 episode "Guilty Pleasures" starring Chris Colfer, Darren Criss, Jane Lynch, Kevin McHale, Lea Michele, Cory .... Before the mid-season premiere, there was an announcement that these would be the last episodes on Syfy. -
AM BRIT MAR 16.Indd
Periodical POSTAGE PAID Marshfield, MO MARCh 2016 • Volume lXVIII • Number 3 Number • lXVIII Volume • 2016 MARCh The American Brittany American The SCIENCE THAT PERFORMS Restore and maintain GI balance JUST AS HARD AS HE DOES during competition with FortiFlora® The probiotic in FortiFlora is proven to promote intestinal 0 health and balance Excellent palatability 0 0 Helps reduce diarrhea Promotes a strong associated immune system with stress 0 Stress from travel and competition can easily lead to GI upset, even in the healthiest sporting dogs. FortiFlora is a breakthrough probiotic supplement that keeps up with his drive and intensity, with guaranteed PROBIOTIC live cultures proven to promote intestinal health and balance. Each * packet is easy to feed, even on the road, with a taste he’ll love. To learn more, talk to your veterinarian or visit ProPlanVeterinaryDiets.com *Millward Brown Veterinary Tracker, 2014 Purina trademarks are owned by Société des Produits Nestlé S.A. Any other marks are property of their respective owners. Printed in the USA. Specs: CheckMark Communications CYAN Bleed: 8-3/4"W x 11-1/4"D American Brittany MAGENTA Job Name: Sporting/Show Print Ads Trim: 8-1/2"W x 11"D March 2016 Job #: 077649 YELLOW Last Modified: Live: 7-1/2"W x 10"D Ad Code: NPPVDBS15C BLACK Ad Size: 8-1/2"W x 11"D + Bleeds File Created By: Brian Cashel VOLUME LXVIII • NUMBER 3 • MARCH 2016 Objective and Purpose: To promote cooperation and friendship among the breeders and owners of Brittanys and to encourage higher standards in breeding, training and showing of Brittanys in the field and in the show ring; to discourage the breed from becoming split into groups of “field dogs” and “show dogs” and to strive to keep it forever a “dual dog”. -
Metafiction, Pararealism and the "Canon" of Canadian Cinema Deborah Knight
Document generated on 09/26/2021 5:48 a.m. Cinémas Revue d'études cinématographiques Journal of Film Studies Metafiction, Pararealism and the "Canon" of Canadian Cinema Deborah Knight Cinéma et Musicalité Article abstract Volume 3, Number 1, Fall 1992 Critical thinking about the English-Canadian and Quebec cinemas has focused lo a large degree on the realist tendencies of our fiction filmmaking-tendencies, URI: https://id.erudit.org/iderudit/1001184ar it is argued, which fiction filmaking has, historically inherited from Canadian DOI: https://doi.org/10.7202/1001184ar documentary film practices. But in recent fiction filmmaking, Canadian filmmakers have moved beyond social realism. Indeed, the emergence in See table of contents English-Canada and Quebec of filmmaking that is metafictional and pararealist — in films like Léa Pool's La Femme de l'hôtel, Bruce McDonald's Roadkill and Patricia Rozema's White Room — gives us occasion not only to rethink the criteria that have been used to identify "canonic" film, but more importantly to Publisher(s) see how these self-conscious fictional strategies, which initially seem to reject Cinémas the norms of social realism, are in fact part of an ongoing re-examination of the limits of fiction. ISSN 1181-6945 (print) 1705-6500 (digital) Explore this journal Cite this article Knight, D. (1992). Metafiction, Pararealism and the "Canon" of Canadian Cinema. Cinémas, 3(1), 125–146. https://doi.org/10.7202/1001184ar Tous droits réservés © Cinémas, 1992 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. -
Blood on the Tracks: Pynchon, Bleeding Edge, and (Un)Popular Music from Britney to Black Metal
orbit. Article How to Cite: Thomas, S 2019 Blood on the Tracks: Pynchon, Bleeding Edge, and (Un)Popular Music from Britney to Black Metal. Orbit: A J ournal of American Literature, 7(1): 3, 1–55. DOI: https://doi.org/10.16995/ orbit.788 Published: 11 June 2019 Peer Review: This article was peer-reviewed internally by the guest editor and by a member of the Orbit editorial team. Copyright: © 2019 The Author(s). This is an open-access article distributed under the terms of the Creative Commons Attribution 4.0 International License (CC-BY 4.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. See http://creativecommons.org/licenses/by/4.0/. Open Access: Orbit: A Journal of American Literature is a peer-reviewed open access journal. Digital Preservation: The Open Library of Humanities and all its journals are digitally preserved in the CLOCKSS scholarly archive service. The Open Library of Humanities is an open access non-profit publisher of scholarly articles and monographs. Thomas, S 2019 Blood on the Tracks: Pynchon, Bleeding Edge, and (Un)Popular Music from Britney to . orbit Black Metal. Orbit: A Journal of American Literature, 7(1): 3, 1–55. DOI: https://doi.org/10.16995/orbit.788 ARTICLE Blood on the Tracks: Pynchon, Bleeding Edge, and (Un)Popular Music from Britney to Black Metal Samuel Thomas Durham University, UK [email protected] This article explores Pynchon’s allusions to popular (and unpopular) music in Bleeding Edge (2013). I argue that Pynchon’s engagement with music can not only be understood in terms of its periodizing function but also as an intricate practice of historical and prophetic/proleptic layering. -
Facial Makeup Detection Using HSV Color Space and Texture Analysis Shiva Varshovi
Facial Makeup Detection Using HSV Color Space and Texture Analysis Shiva Varshovi A Thesis In The Department Of Computer Science and Software Engineering Presented is Partial Fulfillment of the Requirements For the Degree of Master of Computer Science at Concordia University Montreal, Quebec, Canada September 2012 © Shiva Varshovi, 2012 Concordia University School of Graduate Studies This is to certify that the thesis prepared By: Shiva Varshovi Entitled: Facial Makeup Detection Using HSV Color Space and Texture Analysis and submitted in partial fulfillment of the requirements for the degree of Masters of Computer Science complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee: ______________________________________________________________Chair Dr. Nikolaos Tsantalis __________________________________________________________Examiner Dr. Olga Ormandjieva __________________________________________________________Examiner Dr. Leila Kosseim _________________________________________________________Supervisor Dr. Ching Y. Suen Approved by __________________________________________________________________ Chair of Department or Graduate Program Director __________________________________________________________________ Dr. Robin A.L. Drew, Dean Faculty of Engineering and Computer Science Date __________________________________________________________________ ABSTRACT Facial Makeup Detection Using HSV Color Space and Texture Analysis Shiva -
The Virtual Worlds of Cinema
The Virtual Worlds of Cinema Visual Effects, Simulation, and the Aesthetics of Cinematic Immersion Paul Sunderland A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy. Faculty of Arts and Social Sciences. University of Sydney. 2019 1 I hereby declare that, except where indicated in the notes, this thesis contains only my own original work. Some of Chapter 2 was previously published as ‘The Autonomous Camera in Stanley Kubrick’s The Shining,’ in Sydney Studies in English 39, (2013): 58-85. 2 Abstract This thesis develops a phenomenology of immersive cinematic spectatorship. During an immersive experience in the cinema, the images, sounds, events, emotions, and characters that form a fictional diegesis become so compelling that our conscious experience of the real world is displaced by a virtual world. Theorists and audiences have long recognized cinema’s ability to momentarily substitute for the lived experience of reality, but it remains an under-theorized aspect of cinematic spectatorship. The first aim of this thesis is therefore to examine these immersive responses to cinema from three perspectives – the formal, the technological, and the neuroscientific – to describe the exact mechanisms through which a spectator’s immersion in a cinematic world is achieved. A second aim is to examine the historical development of the technologies of visual simulation that are used to create these immersive diegetic worlds. My analysis shows a consistent increase in the vividness and transparency of simulative technologies, two factors that are crucial determinants in a spectator’s immersion. In contrast to the cultural anxiety that often surrounds immersive responses to simulative technologies, I examine immersive spectatorship as an aesthetic phenomenon that is central to our engagement with cinema. -
Doing It Live! Planning and Preparing for a Live Drama Episode: a Case Study of the Bill (ITV, 2005) 2013-12-23
Repositorium für die Medienwissenschaft Joanna MacDonnell Doing it Live! Planning and Preparing for a Live Drama Episode: A Case Study of The Bill (ITV, 2005) 2013-12-23 https://doi.org/10.25969/mediarep/14080 Veröffentlichungsversion / published version Zeitschriftenartikel / journal article Empfohlene Zitierung / Suggested Citation: MacDonnell, Joanna: Doing it Live! Planning and Preparing for a Live Drama Episode: A Case Study of The Bill (ITV, 2005). In: VIEW Journal of European Television History and Culture, Jg. 2 (2013-12-23), Nr. 4, S. 27– 44. DOI: https://doi.org/10.25969/mediarep/14080. Erstmalig hier erschienen / Initial publication here: https://doi.org/10.18146/2213-0969.2013.jethc042 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Weitergabe unter gleichen Bedingungen 4.0 Attribution - Share Alike 4.0 License. For more information see: Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz http://creativecommons.org/licenses/by-sa/4.0 finden Sie hier: http://creativecommons.org/licenses/by-sa/4.0 volume 02 issue 04/2013 DOING IT LIVE! PLANNING AND PREPARING FOR A LIVE DRAMA EPISODE: A CASE STUDY OF THE BILL (ITV, 2005) Joanna MacDonnell School of Art, Design and Media University of Brighton in Hastings Havelock Road Hastings TN34 1BE [email protected] Abstract: Over the last decade there has been a move towards live episodes of popular television dramas and soap operas in the UK being used to celebrate programme and channel anniversaries. This paper, written by a member of the production team is focused on the ‘behind the scenes’ preparation and subsequent broadcast of the live episode of British police drama The Bill on September 22nd 2005. -
Magazine Media
SEPTEMBER 2011: THE PRODUCTION ISSUE M M MediaMagazine edia agazine Menglish and media centre issue 37 | septemberM 2011 Production and … english english and media centre Freaks and geeks Your own production work Practice, planning, professionalism | issue | 37 issue | september 2011 Movie budgets and money shots Producing the Royal Wedding The role of the producer Production courses MM MM MediaMagazine is published by Welcome to MediaMag 37 – and welcome to the start of a new the English and Media Centre, a term, new course, and (we hope) lots of new readers. non-profit making organisation. This issue of MediaMag is all about Production, in all its many The Centre publishes a wide range and varied forms, from the back-stories of classic production of classroom materials and runs courses for teachers. If you’re set-piece scenes in Saving Private Ryan and Bonnie and Clyde studying English at A Level, look out to the logistics of producing a global spectacle such as the Royal for emagazine, also published by Wedding. Roy Stafford explores movie budgets at both ends of the Centre. the spectrum to find out where all the money goes, while Emma Louise Howard The English and Media Centre considers innovative strategies for making the most of zero finance. We look at the 18 Compton Terrace production history of Freaks, one of the most controversial cult movies of all time, London N1 2UN and consider how arguably subversive productions such as Family Guy manage to Telephone: 020 7359 8080 keep their edge inside the Murdoch empire. Fax: 020 7354 0133 Most importantly, we have a series of pieces designed to support your own Email for subscription enquiries: production coursework – after all, it’s worth 50% of your A Level, and requires [email protected] rather more than a ‘point and shoot’ approach, as Rob McInnes points out.