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Mad Men and Philosophy: Nothing Is As It Seems
PHILOSOPHY/POP CULTURE IRWIN SERIES EDITOR: WILLIAM IRWIN EDITED BY Is DON DRAPER a good man? ROD CARVETH AND JAMES B. SOUTH What do PEGGY, BETTY, and JOAN teach us about gender equality? What are the ethics of advertising—or is that a contradiction in terms? M Is ROGER STERLING an existential hero? AD We’re better people than we were in the sixties, right? With its swirling cigarette smoke, martini lunches, skinny ties, and tight pencil skirts, Mad Men is MEN MAD MEN unquestionably one of the most stylish, sexy, and irresistible shows on television. But the series and PHILOSOPHY becomes even more absorbing once you dig deeper into its portrayal of the changing social and political mores of 1960s America and explore the philosophical complexities of its key Nothing Is as It Seems characters and themes. From Socrates, Plato, and Aristotle to John Kenneth Galbraith, Milton and Friedman, and Ayn Rand, Mad Men and Philosophy brings the thinking of some of history’s most powerful minds to bear on the world of Don Draper and the Sterling Cooper ad agency. You’ll PHILOSOPHY gain insights into a host of compelling Mad Men questions and issues, including happiness, freedom, authenticity, feminism, Don Draper’s identity, and more—and have lots to talk about the next time you fi nd yourself around the water cooler. ROD CARVETH is an assistant professor in the Department of Communications Media at Fitchburg State College. Nothing Is as It Seems Nothing Is as JAMES B. SOUTH is chair of the Philosophy Department at Marquette University. -
127249660.Pdf
ACKNOWLEDGMENTS Several people provided me with the guidance and support necessary to complete this study. First and foremost, my sincerest thanks are due to my advisor, Dr. Ahmet Atay, for guiding me through the Independent Study process, even from seven time zones away. His ability to assist me in my development as a scholar is to be commended, as he spent half of the semester overseas. Through Skype, Facebook, and e-mail he kept in constant communication with me during this study. Second, many thanks go to Dr. Denise Bostdorff, who was my partial advisor while Dr. Atay was abroad. While she had several senior Independent Studies to edit as well as her own Junior Independent Study advisees, she understood my situation and met with me in person to check on my progress. Third, I thank my parents, Brent Weingardt and Danielle Srour for understanding my lack of communication with them in light of the workload this study required. Their help throughout my entire academic career provided me with the abilities to complete a study such as this. Fourth, I thank my girlfriend, Margaret Donnelly for putting up with me throughout this entire process. Without her words of encouragement and scholarly expertise I would have been exponentially more stressed. Lastly, I would like to thank my brothers in Xi Chi Psi for understanding the importance and seriousness I placed on this study. Through their support and understanding, I always had someone to talk to when the pressures added up. TABLE OF CONTENTS CHAPTER I: INTRODUCTION .....................................................................................................1 -
Representations of Traumatic Parent-Child Relationships in Mad Men
Rhode Island College Digital Commons @ RIC Honors Projects Overview Honors Projects 4-12-2021 Mad Men, Troubled Mothers, and Scarred Children: Representations of Traumatic Parent-Child Relationships in Mad Men Katarina Dulude Follow this and additional works at: https://digitalcommons.ric.edu/honors_projects Part of the Film and Media Studies Commons Recommended Citation Dulude, Katarina, "Mad Men, Troubled Mothers, and Scarred Children: Representations of Traumatic Parent-Child Relationships in Mad Men" (2021). Honors Projects Overview. 187. https://digitalcommons.ric.edu/honors_projects/187 This Honors is brought to you for free and open access by the Honors Projects at Digital Commons @ RIC. It has been accepted for inclusion in Honors Projects Overview by an authorized administrator of Digital Commons @ RIC. For more information, please contact [email protected]. MAD MEN, TROUBLED MOTHERS, AND SCARRED CHILDREN: REPRESENTATIONS OF TRAUMATIC PARENT-CHILD RELATIONSHIPS IN MAD MEN By Katarina Dulude An Honors Project Submitted in Partial Fulfillment Of the Requirements for Honors In The Department of English Dulude 2 Introduction In the fourth episode of the last season of the critically acclaimed series Mad Men, one of the protagonists, Roger, is forced to track down his daughter Margaret after she abandons her husband and her young child. He finds her in a commune, and he puts on a good show to appear more accepting than her mother, but the following day he insists she return home. She refuses. He tells her, “I know everyone your age is running away and screwing around, but you can’t, you’re a mother,” and when she still refuses, he picks her up and tries to carry her towards a truck as she struggles in his arms and demands he let her go. -
Université De Montréal La Série Mad Men: Une Élégie De La Révolution
Université de Montréal La série Mad Men: une élégie de la révolution créative dans les années soixante. Par Felicia Traistaru Département d’histoire Faculté des arts et des sciences Mémoire présenté à la Faculté des études supérieures En vue de l’obtention du grade de Maitre ès art (M.A) en histoire Août 2017 © Felicia Mihali, 2017 Université de Montréal Faculté des études supérieures Ce mémoire intitulé : La série Mad Men et la publicité dans les années soixante : une élégie de la révolution créative. Présenté par Felicia Traistaru A été évalué par un jury composé par les personnes suivantes : Yakov Rabkin Président-rapporteur Bruno Ramirez Directeur de recherche Marta Boni Membre du jury iii RÉSUMÉ Ce mémoire est consacré à l’analyse de la télésérie américaine Mad Men en tant que reflet de la révolution créative aux États-Unis. À travers la fictive agence de publicité Sterling Cooper & Partners et de son charismatique directeur artistique, Don Draper, la série personnifie la culture corporatiste des cols blancs et les nouveaux défis encourus par l’homme de l’organisation dans les années soixante. Basée sur la méthode de l’historicisme, cette analyse historique met en évidence la manière dont Mad Men incarne cette décennie à partir des sources populaires telles que les romans, les films ou les magazines. Ce type de documents sont pris par les créateurs de la série comme l’expression des certaines valeurs et attitudes des années soixante mais aussi bien comme outil pour la critique des idées consacrées. Mad Men nous permet de comprendre la manière dont la révolution des techniques publicitaires se déroule dans le décor d’une société où les grands enjeux restent encore non résolus. -
Copyright by Chloe Elizabeth Gilke 2018
Copyright by Chloe Elizabeth Gilke 2018 The Thesis Committee for Chloe Elizabeth Gilke Certifies that this is the approved version of the following Thesis: Casting the Men in the Gray Flannel Suits: Mad Men and the Practices of Authoring TV History APPROVED BY SUPERVISING COMMITTEE: Alisa Perren, Supervisor Thomas Schatz Casting the Men in the Gray Flannel Suits: Mad Men and the Practices of Authoring TV History by Chloe Elizabeth Gilke Thesis Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin May 2018 Abstract Casting the Men in the Gray Flannel Suits: Mad Men and the Practices of Authoring TV History Chloe Elizabeth Gilke, MA The University of Texas at Austin, 2018 Supervisor: Alisa Perren Abstract: Drawing on the Harry Ransom Center’s recently acquired Mad Men production archives, this thesis uses the lens of casting to consider authorial agency in the critically acclaimed AMC series. By following the role of recurring, limited guest, and background actors in the first season’s writing, casting, and marketing, this thesis challenges the popular narrative of showrunner Matthew Weiner’s centrality as a creative authorial figurehead. In addition, this project considers Weiner and his production team’s investment in making the show an “accurate” representation of the 1960s. Though crucial to maintaining the show’s “quality” status, the labor of recurring, guest, and background actors as bodies that appear “period accurate” is often obscured by the contribution of more famous players, like Weiner and the show’s principal cast. -
Open Thesis Final Evans.Pdf
THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DEPARTMENT OF ENGLISH “THE CATASTROPHE OF MY PERSONALITY”: “MAD MEN” AND THE CRISIS OF THE SEPARATE SELF SABRINA EVANS Fall 2016 A thesis submitted in partial fulfillment of the requirements for baccalaureate degrees in English and Journalism with honors in English Reviewed and approved* by the following: Michael Bérubé Edwin Erle Sparks Professor of Literature Thesis Supervisor Marcy North Associate Professor of English Honors Adviser * Signatures are on file in the Schreyer Honors College. i ABSTRACT Since its premiere in 2007, Matthew Weiner’s acclaimed television series Mad Men has left viewers postulating and critics raving: Who is Don Draper, where did he come from, and where is he going? On the surface, Don is a successful creative director at a New York advertising agency, a loving husband and father of three. Behind closed doors, though, Don is an adulterer with an impressive track record, an absentee father to his ex-wife’s children, and a recovering alcoholic with an unpredictable tendency to up-and-leave at any given moment. Time and time again, we see Don try to shake his former identity – as a Korean War deserter and the bastard son of an abusive farmer – in favor of chasing the American dream, but time and time again, he winds up right back where he started. This paper explores Mad Men’s conception of ‘identity’ as a process of rejection and acceptance, incorporating the show’s numerous literary references to discuss the trajectory of its characters’ various, yet similar journeys to self- discovery (The Inferno), its dealings with self-loathing (Portnoy’s Complaint) and alienation (Rosemary’s Baby), and its eventual embrace of the ‘othered’ self (Meditations in an Emergency). -
Mad Men Be Said to Redefine the American Mini-Series: a Comparison with Rich Man, Poor Man
David F T Evans M9592229 Write a critical analysis of the American mini-series. Your analysis should take account of both textual and contextual features. You should include close reference to at least two separate series from the genre of your choice. To what extent can Mad Men be said to redefine the American Mini-Series: A comparison with Rich Man, Poor Man There is rarely agreement about the taxonomy of genres in any discipline. One does not need to read Borges (1973) or Foucault (1974) to realise that ‘a genre is ultimately an abstract conception rather than something that exists empirically in the world ' (Feuer, 1992, p.144), or what Mittell refers to as the 'textualist assumption', the idea that there is a ‘causal mechanism or active process of generic continuity in the programs themselves' (2001, p.6). In both film and television history however, the term 'genre' has broadened beyond a way of categorising content to the method of delivery, regardless of subject matter, although it is also part of a process of ‘sharing of expectations between audience and programme makers’ that serves to 'relate … production to the expectation of … customers ' (McQuail, 1987, p.200) and thereby 'permit the creation and maintenance of a loyal audience' (Abercrombie, 1996, p.43). According to Edgar (2000, p.75), it involves a transfer of power – ‘it is the viewer saying to the producer, I possess key elements of this event before it’s begun’. Both Bordwell (1989, p.148) and Stam (2000, p.14) refer to the ways films are variously categorised by content, country, purpose, performer(s) and budget.