DOCSLIB.ORG

The Calgary September 2012 FREE

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Calgary September 2012 FREE The Calgary September 2012 FREE JournalReporting on the people, issues and events that shape our city TRANS 101 | p. 4 G ENDER BRUCE MCCULLOCH | p. 20 issues RAE SPOON | p. 14 Inside the Calgary Journal... EDItor-In-ChIEF PRINT Melissa Molloy Christine Ramos EDITOR IN-CHIEF ONLINE Trevor Presiloski PRODUCTION EDITOR Eva Colmenero REPORTERS Karry Taylor, Anna Brooks Juliet Burgess, J. Emily Clark James Wilt, Ian Esplen SUPERVISING EDITOR Jeremey Klaszus PRODUCTION MANAGER & ADVERTISING Brad Simm PH: (403) 440-6946 Photos courtesy of Derek Besant calgaryjournal.sales@gmail. Internationally renowned artist Derek Besant speaks about public art on page 15. com OUR CITY ‘I don’t dress people THINGS TO DO Produced by journalism students at Mount Royal Fake Moustache like you’ YYComedy Festival University, the Calgary Page 6 | Calgary’s drag king troupe Page 12 | Local model faces racism Page 21 | Bring all of Calgary’s Journal is a community done up corporate style while shopping best comedic genius together this newspaper that reports month on the people, issues and events that shape our city. We are the CALGARY VOICES ARTS proud winners of the Meet The Artist SPORTS 2010 Pacemaker award Born This Way for North American Page 8 | One writer remembers her Page 15 | Calgary’s Derek Besant Gay Athletes explains the art equation newspaper excellence years as a boy Page 22 | Why some don’t come from the Associated out, and what people are doing to Collegiate Press. No Safe Place help reduce homophobia in men’s Page 10 | Calgary GLBTQ activist BOOKS sports shares experience of growing up CONTACT THE queer WordFest JOURNAL: Page 16 | The annual festival is COVER ILLUSTRATION: [email protected] back this October, so what’s it all Melissa Molloy 403-440-6561 about anyway? Illustration by: Eva Colmenero The people who make Calgary’s LGBTQ community. Starts on p. 8. 2 September 2012 | calgaryjournal.ca Singing for community, joy and survival Calgary Jewish Seniors Choir offers second chance to sing MELISSA MOLLOY | [email protected] was in Auschwitz.” competitive — members of any vocal ability would Steven Spielberg’s film, “Schindler’s List.” Chorister Frieda Plucer says, holding up her be able to come and sing, even if they had been When the group sings one can see, and feel the “I forearm to reveal a set of faded tattooed told earlier in life that singing was not on their absolute ecstasy in the room. Heads sway and numbers marking her registration into the repertoire of talents. lyrics are belted out with passion — if the song is notorious concentration camp. Secondly, the choir would aim “to revive and upbeat members clap in tandem, some even get “To live after the horror I went through,” she says to keep alive Jewish music,” while members up and dance. of her role as a chorister, “I come here to be alive.” formed bonds and relationships with each other Szulc, with guitar in hand paces in front of the Plucer is only one of several Holocaust survivors that would effectively “decrease isolation” in the group singing with as much gusto as the rest. She that pepper “Voices,” a choir for seniors mostly senior’s community. is accompanied up at the front by the fabulous comprised by members of Calgary’s Jewish But despite the group’s inclusivity, Szulc is very pianist Arlein Chetner, who volunteers her time community. The five-year-old group meets every clear that this is not just a “sing-a-long” for seniors. and 40 plus years of music expertise. All together, Wednesday at the Calgary Jewish Community These folks rehearse with performances in mind the room feels as though it is bursting with Centre for rehearsals and tonight the room is and have been asked to sing in front of the Prime emotion. packed with singers. The excitement among them Minister of Canada, clergymen and women of the Later on, Szulc explains that the near-tangible is palpable. Calgary community and Mayor Naheed Nenshi. emotion of the choir and their music is due in part It takes the choir’s director and creator Karina Szulc says that the performance aspect gives the to the history of some of its membership. Szulc a bit of effort to get the group to quiet choristers much more than singing practice. “There’s a lot of Holocaust survivors,” she says. down. Members are much too busy laughing and “A choir has a purpose,” she says. “When they “There is something about using music to send a catching up with each other after a week apart. perform in front of an audience there’s a sense of message: That they survived — that they are here The vitality among the choristers is contagious and accomplishment and pride, and also a sense of and they are alive and they are strong and vital. if one were to close their eyes they’d guess they purpose in life that they are sending a message.” “The same reason that they survived in the were in a room of 20-somethings. Chorister Amalia Tauber makes it very clear that prison or were tortured in a concentration camp Six years ago when Szulc moved to Canada from Szulc’s intentions for the choir have been realized. for being Jewish, now that is something they can her native Argentina, the music therapist who “When we are here we forget everything that express openly. So they sing those songs with a specializes in gerontology immediately immersed bothers us,” she says. “We are just here together lot of feeling. To honour their relatives that passed herself in the Jewish seniors community. and it’s a camaraderie among us. For me the choir away and to keep the music alive makes them feel “I moved to Calgary and went to work for Jewish is so much, and I couldn’t live now without the that they are delivering a message.” immigrant services,” she says. “I realized that there choir. For Plucer, her role in the choir is part and parcel were a lot of programs here for seniors but there “I wait every week for the day we get together.” with her life as a survivor of one of history’s darkest were none with music.” Back in the rehearsal room the choir sings songs eras. Szulc says that she began to develop a plan for ranging from “Thank You for the Music” by Swedish “I’ve been through hell,” she says earnestly, but a choir with “very specific goals in mind.” For one, group, ABBA, to the traditional Yiddish song “Oyf’n her face quickly changes into a delighted smile. the choir was going to be all-inclusive and non- Pripetshok and Nacht Aktion” made popular by “Now I’m living it up!” “When they perform in front of an audience there’s a sense of accomplishment and pride, and also a sense of purpose in life that they are sending a message.” — Karina Szulc Photo by: Melissa molloy / Calgary Journal “Voices” is a Jewish seniors choir that sings both traditional Hebrew and Yiddish music as well as contemporary pop songs like “Thank you for the music” by ABBA. September 2012 | calgaryjournal.ca 3 Photo by: Quinn Dombrowski / flickr “My sex doesn’t define my identity” reads a sign at the Montreal Gay Pride Festival Trans 101 Alberta group lends collective-voice to transgender issues and experience MELISSA MOLLOY | [email protected] ransgender. It’s a term that has been used in surgery has been reinstated, but TESA has “At the end of the day what is making Calgary popular media perhaps more than ever over incorporated into its mission an array of other issues better and what it still needs is education. It needs a Tthe last few years, but what does it mean in that trans-identified people face from day to day, as trans 101 session,” she says. a community? What does it mean in a workplace, a well as education and information sharing with the bus stop or at the hospital? community at large. BATHROOMS WARS By definition, to be transgender is to be born “We try to educate the community as well as The group feels that opening up an education- with a very burdensome misalignment between the medical and legal professionals about issues facing based dialogue with folks who still feel confused interior and exterior of a person. The physical sex trans Albertans,” says Langille, adding that being or uncomfortable with trans people, can only help defining one as male or female from birth does not of service to individual members of the trans to break down barriers that affect even the most match up with the person’s own knowing of what community is also a high priority. mundane daily events in a trans person’s life, such their gender feels like from the inside. A male child “If there’s a way we can help a member as far as as the bathroom example above. might be trapped in a little girl’s body, or vice versa information or anything else that we can possibly “I spent a long time either not going to the — as well as many variations in between. do, we do it,” she says. washroom in public or counting the people that “Everybody just wants to be who they are,” says And the issues facing the trans community in go in and come out and making sure I’d be alone,” Brianne Langille, the current president of the Trans Calgary are many. Langille says. Equality Society of Alberta (TESA). “Imagine a 10-year-old child in a restaurant being Adam Legace, an active member of TESA, notes The non-profit organization was formed in 2009 terrified to use the bathroom because they are that the gendered-bathrooms issue is key because after the Alberta government passed legislation to scared someone is going to tell them that they are it highlights one of the great ironies facing trans withhold funding for gender reassignment surgery.
Load more

Recommended publications
  • The Last Comedy
    v*? - at \ The Banff Centre for Continuing Education T h e B a n f f C e n t r e As The Banff Centre embarks on its seventh decade, it carries with it a new image as an internationally renowned centre of creativity. presents The Centre continues to stress the imagina­ tion's role in a vibrant and prosperous soci­ ety. It champions artists, business leaders and their gift of creativity. It brings profes­ The Last sionals face to face with new ideas, catalyses achievement, experiments with disciplinary boundaries. It takes Canadians and others to the cutting edge - and beyond. Comedy The Banff Centre operates under the authority of The Banff Centre Act, Revised by Michael Mackenzie Statutes of Alberta. For more information call: Arts Programs 762-6180 Gallery Information 762-6281 Management Programs 762-6129 Directed by - Jean Asselin Conference Services 762-6204 Set and Costume Design by - Patrick Clark Lighting Design by - Harry Frehner Set and Costume Design Assistant - Julie Fox* Lighting Design Assistant - Susann Hudson* Arts Focus Stage Manager - Winston Morgan+ Our Centre is a place for artists. The Assistant Stage Manager - Jeanne LeSage*+ Banff Centre is dedicated to lifelong Production Assistant - David Fuller * learning and professional career develop­ ment for artists in all their diversity. * A resident in training in the Theatre Production, We are committed to being a place that Design and Stage Management programs. really works as a catalyst for creative +Appearing through the courtesy of the Canadian activity — a place where artistic practices Actors' Equity Association are broadened and invigorated. There will be one fifteen minute intermission Interaction with a live audience is an important part of many artists’ profession­ al development.
    [Show full text]
  • 'Like an American, but Without a Gun'?: Canadian National Identity
    . Volume 17, Issue 2 November 2020 ‘Like an American, but without a gun’?: Canadian national identity and the Kids in the Hall Melissa Beattie, Independent Scholar, USA Abstract: Media representation of national identity can be complex and utilise many potential mechanisms for conveying said identity onto both diegeses and series. This paper analyses the mechanisms by which the corpus of texts produced by comedy troupe the Kids in the Hall (KITH) represents and constructs a Canadian national identity for domestic and foreign audiences. Utilising both textual analysis and audience research, this paper examines the banal diegetic nationalism (Beattie 2017a, b) of the corpus as well as how the Canadianness of the series is perceived. Keywords: Canadian national identity and media, Discursive national identity, Fan studies, Representation, Audiences Introduction and literature review Media representation of national identity can be complex and utilise many potential mechanisms for conveying said identity onto both diegeses and series. This paper analyses the mechanisms by which the corpus of texts produced by comedy troupe the Kids in the Hall (KITH) represents and constructs a Canadian national identity for domestic and foreign audiences. Utilising both textual analysis and audience research, this paper examines the banal diegetic nationalism (Beattie 2017a, b) of the corpus as well as how the Canadianness of the corpus is perceived. This is relevant when viewed in context of Edwardson’s (2008) work on the development of Canadian national identity through its cultural industries. Though his book looks at all of the cultural industries, Edwardson’s negative view of globalisation with regard Page 3 Volume 17, Issue 2 November 2020 to television in particular views the push for transnational television success as leading to the diminishing of Canadian-focused content in favour of what would appeal to a predominantly-American audience.
    [Show full text]
  • Comedy: Stand-Up, Gay Male by Tina Gianoulis Actor and Comic Jason Stuart
    Comedy: Stand-Up, Gay Male by Tina Gianoulis Actor and comic Jason Stuart. Encyclopedia Copyright © 2015, glbtq, Inc. Courtesy JasonStuart. Entry Copyright © 2002, glbtq, Inc. com. Reprinted from http://www.glbtq.com Stand-up comedy is a form of entertainment where one performer stands in front of an audience and tries to make common cause with that audience by pointing out the ridiculous and humorous in the universal problems of everyday life. Stand-up comics balance on a fine edge between the funny and the offensive. They can be social critics, prodding audiences to look at the unfairness and inequality in life and to rise above them with a laugh. They can also be part of that unfairness by using humor to make fun of women, gays, and ethnic groups, allowing some members of their audiences to feel superior to those who are the butts of the joke. The dilemma is well expressed by Henry Machtey on the Gay Comedy Links website: "Stand-up comedy. Cracking jokes. Are you going to aim those jokes at people who are less powerful? or people who are more powerful?" Too often, gay men have been the objects of hostile humor. Queer jokes, like female jokes and ethnic jokes, have long been a staple of straight stand-up comics looking for an easy laugh from audiences eager to assert their own heterosexuality in a world where it is often dangerous to be gay. At the same time, however, perhaps long before the all-male Greek theater of the fourth century B.C.E., audiences have also had a fascination with gender-bending.
    [Show full text]
  • Tthhheee Tttaaattttttooooo
    A9 | Monday, April 11, 2005 The Bristol Press TTHHEE TTAATTTTOOOO BRISTOL PRESS MAKING A PERMANENT IMPRESSION SINCE 1994 VOLUME 11 No. 11 ‘Hollow Men’ fill Iraq War protesters feel lucky By STEVEN DUREL University senior involved with the world, many calling for a and food from various organi- The Tattoo the Progressive Student timetable for the removal of zations. The Tent People even a TV humor void Alliance. American troops from Iraq, a entertained local religious lead- Amidst the ocean of green Marching in front of the nation which now possesses its ers who stopped by to let the By STEFAN KOSKI hats and balloons of St. Capitol at noon, the demon- own multi-ethnic government protesters know that their The Tattoo Patrick’s Day in Hartford last strators chanted and carried and military. Many Coalition efforts were much appreciated. month, there were also banners signs condemning the invasion. countries, most notably Spain, Despite the overall sense of Ever since “Saturday Night Live” premiered on NBC in 1975, a and cries of discontent. Rallying together an hour have removed their forces from solidarity among the anniver- host of other sketch comedy shows have been launched with Gathering around the state later, the protesters denounced Iraq and others, like Italy and sary demonstrations, the pro- mixed success. The most notable of these include Fox’s “Mad TV” Capitol, dozens of dissatisfied the war, making reference to the Ukraine, have recently testers themselves seemed less and Canada’s “The Kids in the Hall.” protesters marked the second the more than 100,000 lives lost made requests to leave the area than optimistic about how the Comedy Central has introduced many of these sketch comedy anniversary of the invasion of in the past two years.
    [Show full text]
  • Running Head: POPULAR PEDAGOGY in CANADIAN TELEVISION
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Brock University Digital Repository Running head: POPULAR PEDAGOGY IN CANADIAN TELEVISION Popular Pedagogy in Canadian Television: A Feminist Critical Discourse Analysis of Trailer Park Boys Andrew Haddow, B.A. (Hons.) Department of Graduate Studies in Education Submitted in partial fulfillment of the requirements for the degree of Master of Education Faculty of Education, Brock University St. Catharines, Ontario © Andrew Haddow, 2017 POPULAR PEDAGOGY IN CANADIAN TELEVISION Abstract This major research paper studied the representations of masculinity in the Canadian television program Trailer Park Boys from the perspective of public pedagogy and education. Motivated by a desire to expose how patriarchal discourses are learned through everyday practices and texts, a methodology of feminist Critical Discourse Analysis (CDA) was formulated. Trailer Park Boys is a long-running mockumentary series set in a fictional trailer park near Halifax, Nova Scotia. It focuses on a cast of male characters with exaggerated personalities, and is satirical in tone. Prior to the main analysis of this paper, a collection of relevant literature was conducted and an opportunity to address a lack of gender-focused studies of Canadian television, including Trailer Park Boys, was noted. This study used the feminist CDA method to analyze what masculinities were reinforced as normal or abnormal in Seasons 3 and 9 of the program, based on the understanding that popular culture is a site of everyday learning. After the data was collected episode-by-episode, it became apparent that the themes of family, authority, and sexuality were helpful in understanding what relationship Trailer Park Boys had with traditional representations of heteronormative masculinity.
    [Show full text]
  • Download the 2010 Press
    April 6-11, 2010 2010 a comedy odyssey PRODUCED BY FESTIVAL SPONSOR THE 2010 WINNIPEG COMEDY FESTIVAL - AN ODYSSEY NINE YEARS IN THE MAKING. February 22, 2010 (Winnipeg) – It’s nearly that time of year again, when dozens of comics from across the nation hold the city hostage with big laughs and side-splitting mirth. Running April 6-11, 2010, it’s our biggest festival yet, featuring 70 comics and 29 shows in six short nights. What makes this festival so big? Let’s start at the beginning. Tuesday, April 6th we launch the festival with a bang by hosting the Trevor Boris DVD Release/Homecoming 2010 show. When Winnipeg’s favourite farmboy-turned-Much Music-host Trevor Boris announced his intentions to return home to launch his new DVD with Warner Brothers, we decided to join forces and create a show celebrating Trevor and other fine Manitoba ex-pats Irwin Barker and Bruce Clark, as well as current Winnipeggers Al Rae and Chantel Marostica. Wednesday marks our eighth year of the fantastic Opening Night show with the Manitoba Lotteries, hosted this year by none other than the prodigal son, Trevor Boris! The show has swollen from the traditional four to six talented performers; Greg Morton, Derek Edwards, Arthur Simeon, Scott Faulconbridge and Karen O’Keefe. Next comes four nights of galas, including five recorded-for-broadcast CBC galas. We kick off on Thursday with the Edumacation Show, hosted by Gerry Dee and featuring half a dozen cerebral comics including David Hemstad and Jon Dore. Friday night we’ve got two fantastic galas.
    [Show full text]
  • Kids in the Hall S2 DVD SS
    “…some of the most subversive material every performed on network TV…” —Spin Populating their realm with such uniquely bizarre creations as the Chicken Lady, Cabbage Head, and Mr. Heavyfoot, THE KIDS IN THE HALL took aim at everything from corporate culture to drug culture and sexism to suburban angst, crafting one of sketch comedy’s most innovative and influential shows. Smartly twisting the conventions of mainstream comedy,the complete, acclaimed second season of THE KIDS IN THE HALL crackles with farcical brilliance—collected here on DVD by overwhelming demand. • The complete second season now on DVD—by popular demand! • Executive produced by Lorne Michaels of Saturday Night Live fame. • Season One is a DVD success—a VideoScan® Top 50 TV Seller. • Starring Mark McKinney (Saturday Night Live), Bruce McCulloch (Stealing Harvard), Dave Foley (NewsRadio), Kevin McDonald (That 70’s Show), and Scott Thompson (Dharma & Greg). • Jam-packed with Bonus Features—including never before seen footage. NOTE SPECIAL DATES: DVD PREORDER RELEASE special features: An Oral History—15 minutes with the Kids, October 12, 2004 November 16, 2004 Paul Bellini and Lorne Michaels a New Audio Commentary by the Kids a Two Season 2 Best-of Compilations Featuring Fan-Favorite Sketches a 30 More Minutes of Never-Before-Seen-On-TV Performances from the Rivoli Theater a Original KiTH Performance Poster Gallery a Cast Biographies a Interactive Menus a Scene Selection $59.95 srp U.S. Color, 4 discs, catalog no. AAE-71392 $79.95 srp Canada Approx. 8 hrs., upc 7-33961-71392-3 20 mins. + extras, isbn 0-7670-6592-1 Comedy For more information on how to order, please contact your New Video sales representative.
    [Show full text]
  • Making Meatballs: Canadian Film and Television Comedy by Monica M
    Making Meatballs: Canadian Film and Television Comedy by Monica M. Champagne A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts in Film Studies Carleton University OTTAWA, Ontario September 13,2005 Copyright © 2005, Monica M. Champagne Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Library and Bibliotheque et Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-18243-7 Our file Notre reference ISBN: 978-0-494-18243-7 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce,Canada de reproduire, publier, archiver, publish, archive, preserve, conserve,sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet,distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non­ sur support microforme, papier, electronique commercial purposes, in microform,et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. this thesis. Neither the thesis Ni la these ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent etre imprimes ou autrement may be printed or otherwise reproduits sans son autorisation.
    [Show full text]
  • Canadian Humour
    Canadian humour Canadian humour is an integral part of the Canadian Identity. There are several traditions in Canadian humour in both English and French. While these traditions are distinct and at times very different, there are common themes that relate to Canadians' shared history and geopolitical situation in North America and the world. Various trends can be noted in Canadian comedy. One thread is the portrayal of a "typical" Canadian family in an on-going radio or television series. Examples include La famille Plouffe, with its mix of drama, humour, politics and religion and sitcoms such as King of Kensington and La Petite Vie. Another major thread tends to be political and cultural satire: television shows such as CODCO, Royal Canadian Air Farce, La Fin du monde est à 7 heures and This Hour Has 22 Minutes, monologuists such as Yvon Deschamps and Rick Mercer and writers, including Michel Tremblay, Will Ferguson and Eric Nicol draw their inspiration from Canadian and Québécois society and politics. Another trend revels in absurdity, demonstrated by television series like The Kids in the Hall and The Frantics, and musician-comedians such as The Arrogant Worms, Three Dead Trolls in a Baggie and Bowser and Blue. Satire is arguably the primary characteristic of Canadian humour, evident in each of these threads, and uniting various genres and regional cultural differences. Humber College in Toronto and the École nationale de l'humour in Montreal offer post-secondary programmes in comedy writing and performance. Montreal is also home to the bilingual (English and French) Just For Laughs festival and to the Just for Laughs museum, a bilingual, international museum of comedy.
    [Show full text]
  • Canadian Television by Jennifer Burwell
    Canadian Television by Jennifer Burwell Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2002, glbtq, Inc. Reprinted from http://www.glbtq.com The portrayal of gay, lesbian, bisexual, transgendered, and queer people in English Canadian television programming has been sporadic. There have been several significant appearances of glbtq characters on the Canadian Broadcasting Corporation (CBC), Canada's national public broadcasting system. The recent advent of PrideVision, a digital cable television network with a mandate to air glbtq Canadian content, will certainly lead to an increase not only in the presence of gays and lesbians on television, but also in the number of shows developed for a glbtq audience. Canadian Broadcasting Corporation Perhaps because it is a public broadcaster with a mandate to inform and enlighten as well as entertain, CBC has aired more television programs with glbtq content than Canada's other national network, CTV. CBC's Degrassi Jr. High (1987-1989), part of the youth-centered Degrassi series, dealt with abortion, single parenthood, sex, death, racism, AIDS, feminism, and gay issues as situations that the characters had to work through within the serialized narrative structures, while avoiding the "topic of the week" feel that is endemic to the genre. One episode, for example, featured the pre-adolescent character Caitlin discussing lesbianism with her English teacher, Miss Avery. A spin-off of the Degrassi series, Liberty Street (CBC, 1995-1996), featured Billy Merasty as Nathan Jones, a gay native ex-bicycle courier. The producers of Liberty Street went on to create Riverdale (CBC, 1997-2000), with gay character George Patillo. In early 2003, CBC announced that gay playwright Michel Tremblay will write Quebec's first television show to feature an on-going gay relationship, Le Coeur Découvert.
    [Show full text]
  • The Poetics of Sketch Comedy
    UNLV Retrospective Theses & Dissertations 1-1-1994 The poetics of sketch comedy Michael Douglas Upchurch University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/rtds Repository Citation Upchurch, Michael Douglas, "The poetics of sketch comedy" (1994). UNLV Retrospective Theses & Dissertations. 368. http://dx.doi.org/10.25669/8oh8-bt66 This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV 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 UNLV Retrospective Theses & Dissertations by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. INFORMATION TO USERS TTiis manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted.
    [Show full text]
  • Final Master Script Heroes and Scoundrels
    HEROES AND SCOUNDRELS: THE IMAGE OF THE JOURNALIST IN POPULAR CULTURE by Matthew C. Ehrlich and Joe Saltzman APPLE: CHAPTER ONE WINDOWS: CHAPTER ONE, SECTION ONE Chapter 1: History Popular culture plays an important part in shaping the public’s thinKing about history The birth of modern journalism is vividly depicted by the 1952 film Park Row Heroes and Scoundrels Edit Script 2 #1. Park Row (1952) VOICE-OVER: The film stars a character named Phineas Mitchell, who founds a paper called the Globe. SOUND FULL: VOICE-OVER: Phineas achieves it all despite fierce opposition from Charity HacKett, the female publisher of the rival Star, where Phineas used to worK. Even though the two share a mutual lust, they repeatedly clash. SOUND FULL: VOICE-OVER: HacKett’s paper, without her Knowledge, targets the Globe with goons, one of whom Phineas chases down the street and pummels against a statute of Benjamin FranKlin. SOUND FULL: VOICE-OVER: An older member of Phineas’s staff dies amid the mayhem, but not before writing his own obituary addressed to Phineas. SOUND FULL: VOICE-OVER: Somehow it all ends happily: Charity Kills the Star and joins forces with Phineas at the Globe. SOUND FULL: Another film celebrated the birth of a global wire service #2. A Dispatch from Reuters (1941) VOICE OVER: Paul Julius Reuter (played by Edward G. Robinson) passionately believes that access to information should be a universal right, and he seeKs to better the world through the quicK transmission of news. SOUND FULL: VOICE-OVER: When he is the first to report in Europe that Abraham Lincoln has been assassinated, no one believes the horrific news.
    [Show full text]