Introduction
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Norman Conquest: the Style and Legacy of All in the Family
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Boston University Institutional Repository (OpenBU) Boston University OpenBU http://open.bu.edu Theses & Dissertations Boston University Theses & Dissertations 2016 The Norman conquest: the style and legacy of All in the Family https://hdl.handle.net/2144/17119 Boston University BOSTON UNIVERSITY COLLEGE OF COMMUNICATION Thesis THE NORMAN CONQUEST: THE STYLE AND LEGACY OF ALL IN THE FAMILY by BAILEY FRANCES LIZOTTE B.A., Emerson College, 2013 Submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts 2016 © 2016 by BAILEY FRANCES LIZOTTE All rights reserved Approved by First Reader ___________________________________________________ Deborah L. Jaramillo, Ph.D. Assistant Professor of Film and Television Second Reader ___________________________________________________ Michael Loman Professor of Television DEDICATION This thesis is dedicated to Jean Lizotte, Nicholas Clark, and Alvin Delpino. iv ACKNOWLEDGMENTS First, I’m exceedingly thankful for the guidance and patience of my thesis advisor, Dr. Deborah Jaramillo, whose investment and dedication to this project allowed me to explore a topic close to my heart. I am also grateful for the guidance of my second reader, Michael Loman, whose professional experience and insight proved invaluable to my work. Additionally, I am indebted to all of the professors in the Film and Television Studies program who have facilitated my growth as a viewer and a scholar, especially Ray Carney, Charles Warren, Roy Grundmann, and John Bernstein. Thank you to David Kociemba, whose advice and encouragement has been greatly appreciated throughout this entire process. A special thank you to my fellow graduate students, especially Sarah Crane, Dani Franco, Jess Lajoie, Victoria Quamme, and Sophie Summergrad. -
Encounters with the Neighbour in 1970S' British Multicultural Comedy
Postcolonial Interventions, Vol. IV, Issue 1 Encounters with the Neighbour in 1970s’ British Multicultural Comedy Sarah Ilott “If you don’t shut up, I’ll come and move in next door to you!” Such was the frequent response to audience heckles made by Britain’s first well-known black come- dian, Charlie Williams (Leigh 2006). Williams’s response appropriated racist rhetoric of the time, in which the black neighbour was frequently mobilised as an object of fear, threatening the imagined homogeneity of for- merly white communities. Having frequently been on the receiving end of racist taunts such as “Get back to Af- rica” as a professional footballer for Doncaster Rovers in the 1940s and ’50s, Williams was able to claim some 14 Postcolonial Interventions, Vol. IV, Issue 1 of the power of the Teller of the joke through such put-downs, rather than solely occupying the position of the Butt of racist jokes and slurs. However, the fact was that Williams was forced to rely on self-deprecation and the reiteration of racial stereotype gestures to his need to find favour with the predominantly white audiences of the northern working men’s clubs that he toured and the mainstream audiences of ITV’s prime time hit, The Comedians (ITV, 1971-93), on which he was showcased alongside notable racists such as Bernard Manning. De- spite lamenting the “very stupid and very immature” tone of Williams’s self-mocking jokes, comedian Lenny Henry – who lived with the unfortunate legacy of what was expected of black comedians, particularly in the North – acknowledged that Williams did “what you’ve got to do if it’s a predominantly white audience – you’ve got to put yourself, and other people, down” (qtd. -
A State of Play: British Politics on Screen, Stage and Page, from Anthony Trollope To
Fielding, Steven. "The Televised Crisis." A State of Play: British Politics on Screen, Stage and Page, from Anthony Trollope to . : Bloomsbury Academic, 2014. 157–186. Bloomsbury Collections. Web. 25 Sep. 2021. <http://dx.doi.org/10.5040/9781472545015.ch-006>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 25 September 2021, 00:50 UTC. Copyright © Steven Fielding 2014. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 6 The Televised Crisis The Clangers was a children’s animated television series featuring what their creator Oliver Postgate described as ‘a small tribe or extended family of civil mouse-like persons living their peaceful lives on, in and around a small, undis- tinguished moon’. They were ‘plump and shocking pink, with noses that were long, perhaps for sucking up … soup’.1 Originally broadcast on BBC One during 1969–72, the series was repeated many times thereafter. On the night of 10 October 1974 the BBC showed a special episode, ‘Vote for Froglet’, one designed for grown-ups, in which the narrator informs the Clangers that ‘the proudest moment of the British people [is] a parliamentary election’. The purpose of the episode was, however, not to celebrate the state of democracy on the day the country went to the polls. Postgate had something he wanted to get off his chest. The grandson of George Lansbury, who led the Labour party during 1932–5, Postgate was from a left-wing bohemian family. Yet, as the post-war period developed, he came to believe that ‘the prospect of a just and loving social order based on the principles of true socialism’, for which his grandfather and parents had worked, would not materialize. -
Dialects of London East End and Their Representation in the Media
Vanja Kavgić Dialects of London East End and their representation in the media. Cockney dialect and Multicultural London English in British sitcoms. MASTER THESIS submitted in fulfilment of the requirements for the degree of Master of Arts Programme: Master's programme English and American Studies Alpen-Adria-Universität Klagenfurt Evaluator Univ.-Prof. Mag. Dr. Alexander Onysko Alpen-Adria-Universität Klagenfurt Institut für Anglistik und Amerikanistik Klagenfurt, June 2018 Affidavit I hereby declare in lieu of an oath that - the submitted academic thesis is entirely my own work and that no auxiliary materials have been used other than those indicated, - I have fully disclosed all assistance received from third parties during the process of writing the thesis, including any significant advice from supervisors, - - any contents taken from the works of third parties or my own works that have been included either literally or in spirit have been appropriately marked and the respective source of the information has been clearly identified with precise bibliographical references (e.g. in footnotes), - to date, I have not submitted this thesis to an examining authority either in Austria or abroad and that - - when passing on copies of the academic thesis (e.g. in bound, printed or digital form), I will ensure that each copy is fully consistent with the submitted digital version. I understand that the digital version of the academic thesis submitted will be used for the purpose of conducting a plagiarism assessment. I am aware that a declaration contrary to the facts will have legal consequences. Vanja Kavgic e.h. Klagenfurt, 28.06.2018 1 Table of Contents AKNOWLEDGEMENTS ...................................................................................................................... -
Journal of British Studies
Journal of British Studies 'The show is not about race': Custom, Screen Culture, and The Black and White Minstrel Show --Manuscript Draft-- Manuscript Number: 4811R2 Full Title: 'The show is not about race': Custom, Screen Culture, and The Black and White Minstrel Show Article Type: Original Manuscript Corresponding Author: Christine Grandy, Ph.D. University of Lincoln Lincoln, Lincolnshire UNITED KINGDOM Corresponding Author Secondary Information: Corresponding Author's Institution: University of Lincoln Corresponding Author's Secondary Institution: First Author: Christine Grandy, Ph.D. First Author Secondary Information: Order of Authors: Christine Grandy, Ph.D. Order of Authors Secondary Information: Abstract: In 1967, when the BBC was faced with a petition by the Campaign Against Racial Discrimination (CARD) requesting an end to the televised variety programme, The Black and White Minstrel Show (1958-1978), producers at the BBC, the press, and audience members collectively argued that the historic presence of minstrelsy in Britain rendered the practice of blacking up harmless. This article uses Critical Race Theory as a useful framework for unpacking defences that hinged both on the colour-blindness of white British audiences, and the simultaneous existence of wider customs of blacking up within British television and film. I examine a range of 'screen culture' from the 1920s to the 1970s, including feature films, home movies, newsreels, and television, that provide evidence of the existence of blackface as a type of racialised custom in British entertainment throughout this period. Efforts by organisations such as CARD, black-press publications like Flamingo, and audiences of colour, to name blacking up and minstrelsy as racist in the late 1960s were met by fierce resistance from majority white audiences and producers, who denied their authority to do so. -
Page 1 1 ALL in the FAMILY ARCHIE Bunker Emmy AWARD
ALL IN THE FAMILY ARCHIE Bunker Based on the British sitcom Till MEATHEAD Emmy AWARD winner for all DEATH Us Do Part MIKE Stivic four lead actors DINGBAT NORMAN Lear (creator) BIGOT EDITH Bunker Archie Bunker’s PLACE (spinoff) Danielle BRISEBOIS FIVE consecutive years as QUEENS CARROLL O’Connor number-one TV series Rob REINER Archie’s and Edith’s CHAIRS GLORIA (spinoff) SALLY Struthers displayed in Smithsonian GOOD Times (spinoff) Jean STAPLETON Institution 704 HAUSER (spinoff) STEPHANIE Mills CHECKING In (spinoff) The JEFFERSONS (spinoff) “STIFLE yourself.” “Those Were the DAYS” MALAPROPS Gloria STIVIC (theme) MAUDE (spinoff) WORKING class T S Q L D A H R S Y C V K J F C D T E L A W I C H S G B R I N H A A U O O A E Q N P I E V E T A S P B R C R I O W G N E H D E I E L K R K D S S O I W R R U S R I E R A P R T T E S Z P I A N S O T I C E E A R E J R R G M W U C O G F P B V C B D A E H T A E M N F H G G A M A L A P R O P S E E A N L L A R C H I E M U L N J N I O P N A M R O N Z F L D E I D R E D O O G S T I V I C A E N I K H T I D E T S A L L Y Y U A I O M Y G S T X X Z E D R S Q M 1 84052-2 TV Trivia Word Search Puzzles.indd 1 10/31/19 12:10 PM THE BIG BANG THEORY The show has a science Sheldon COOPER Mayim Bialik has a Ph.D. -
DIRECT DEMOCRACY: an Agenda for a New Model Party
29505_J Norman_NMP 7/6/05 13:35 Page C DIRECT DEMOCRACY: An Agenda for a New Model Party direct-democracy.co.uk 29505_J Norman_NMP 7/6/05 13:35 Page D First published 2005 Copyright © 2005 The Authors We actively encourage the reproduction of this book's ideas, particularly by ministers and civil servants. Published by direct-democracy.co.uk A CIP catalogue record of this book is available from the British Library ISBN 0-9550598-0-1 Typeset and printed by Impress Print Services Ltd, London 29505_J Norman_NMP 7/6/05 13:35 Page E Contents Introduction 1 Chapter One: The Tory Collapse 7 Chapter Two: The Rise of Anti-Politics 21 Chapter Three: Command Politics 34 Chapter Four: Direct Democracy 44 ILocal Government 46 II Crime 54 III Education 65 IV Health 74 VConstitutional Reform 81 VI New Model Party 96 A Note on the Authors 101 29505_J Norman_NMP 7/6/05 13:35 Page F "All decisions are delegated by politicians, because politicians don't want to take responsibility for them, to quangoes, and quangoes aren't answerable to anybody. Now what can you really hold a politician responsible for in domestic policy?" Lord Butler of Brockwell, Cabinet Secretary and Head of the Home Civil Service 1988–1998 December 2004 "It may be that the era of pure representative democracy is slowly coming to an end." Peter Mandelson, European Commissioner March 1998 29505_J Norman_NMP 7/6/05 13:35 Page 1 INTRODUCTION So it goes on. Once again, the Conservative Party is starting a new parliament with fewer MPs than Labour enjoyed in 1983, its popularity declining in important areas of our country, its future insecure. -
THE INVISIBLE THEATRE John Amos
PRESS RELEASE Contact: Cathy Johnson or Susan Claassen 1400 N. First Ave, Tucson, AZ. 85719 Administration – (520) 884-0672 Box Office – (520) 882-9721 [email protected] www.invisibletheatre.com FOR RELEASE ON OR AFTER DECEMBER 26, 2011 THE INVISIBLE THEATRE Presents Written by and Starring John Amos Directed and Designed by John Harris, Jr. Made possible in part through the generous support of Dr. Vivian Cox, David Hendricks and Dee-Dee Samet WHERE: The Berger Performing Arts Center 1200 W. Speedway Blvd. Tucson, AZ 85745 WHEN: January 14, 2012 at 8:00 pm and January 15, 2012 at 3:00 pm TICKETS: Ticket Price: $42 To charge tickets by phone, call (520) 882-9721 To purchase tickets on-line, go to www.invisibletheatre.com and click on the OvationTix logo Discounts available for groups of ten or more RUNNING TIME : 2 hours with an intermission Tucson, Arizona (December 26, 2011); You know him from his Emmy Award nominated performance as the heroic adult Kunta Kinte in the ground breaking mini-series Roots , or as James Evans, the indestructible father from the hit television sitcom Good Times . You were delighted by his hilarious performance opposite Eddie Murphy in the box office blockbuster Coming to America . You have enjoyed him on the Emmy Award-winning drama The West Wing , the CBS series The District, Fresh Prince of Bel-Air and House . Whether he was performing with Sylvester Stallone in Lock Up or co-starring with Bruce Willis in Die Hard II , John Amos has always delivered outstanding performances. He now presents yet another astonishing character portrayal in his own extraordinary creation, John Amos’ HALLEY’S COMET where he takes the audience on a whirlwind adventure back in time, beginning at the turn of the century when the world was full of dreams and promises of wonderful things to come. -
Austerity, Affluence and Discontent in the United Kingdom, .1951-1979
AUSTERITY, AFFLUENCE AND DISCONTENT IN THE UNITED KINGDOM, .1951-1979 Part 5: “Love Thy Neighbour” Immigration and Race Relations, c. 1951–1979 Source 1: Black revellers confront the police during the 1976 Notting Hill Carnival riots 2 Austerity, Affluence and Discontent in the United Kingdom, c.1951–1979: Part 5 Introduction Before the Second World War there were very few non-white people living permanently in the UK, but there were 2 million by 1971. Two thirds of them had come from the Commonwealth countries of the West Indies, India, Pakistan and Hong Kong, but one third had been born in the UK. The Commonwealth was the name given to the countries of the British Empire. However, as more and more countries became independent from the UK, the Commonwealth came to mean countries that had once been part of the Empire. Immigration was not new. By the 1940s there were already black communities in port cities like Bootle in Liverpool and Tiger Bay in Cardiff. Groups of Chinese people had come to live in the UK at the end of the 19th century and had settled in Limehouse in London, and in the Chinatown in Liverpool. Black West Indians had come to the UK to fight in the Second World War. The RAF had Jamaica and Trinidad squadrons and the Army had a West Indian regiment. As a result there were 30,000 non-white people in the UK by the end of the war.1 The British people had also been very welcoming to the 130,000 African-American troops of the US Army stationed in the UK during the war. -
©2013 Tal Zalmanovich ALL RIGHTS RESERVED
©2013 Tal Zalmanovich ALL RIGHTS RESERVED SHARING A LAUGH: SITCOMS AND THE PRODUCTION OF POST-IMPERIAL BRITAIN, 1945-1980 by TAL ZALMANOVICH A dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in History Written under the direction of Prof. Bonnie Smith And Approved by ---------------------------------------- ---------------------------------------- ---------------------------------------- ---------------------------------------- New Brunswick, New Jersey May, 2013 ABSTRACT OF THE DISSERTATION Sharing a Laugh: Sitcoms and the Production of Post-Imperial Britain, 1945-1980 By Tal Zalmanovich Dissertation Director: Bonnie Smith Sharing a Laugh examines the social and cultural roles of television situation comedy in Britain between 1945 and 1980. It argues that an exploration of sitcoms reveals the mindset of postwar Britons and highlights how television developed both as an industry and as a public institution. This research demonstrates how Britain metamorphosed in this period from a welfare state with an implicit promise to establish a meritocratic and expert-based society, into a multiracial, consumer society ruled by the market. It illustrates how this turnabout of British society was formulated, debated, and shaped in British sitcoms. This dissertation argues that both democratization (resulting from the expansion of the franchise after World War I) and decolonization in the post-World War II era, established culture as a prominent political space in which interaction and interconnection between state and society took place. Therefore, this work focuses on culture and on previously less noticed parties to the negotiation over power in society such as, media institutions, media practitioners, and their audiences. -
Theorizing Conservative Egalitarianism by Erin Baribeau a Disserta
Taxpayers and Homeowners, Forgotten Men, and Citizen-Workers: Theorizing Conservative Egalitarianism by Erin Baribeau A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Political Science) in the University of Michigan 2014 Doctoral Committee: Professor Lisa J. Disch (Chair) Professor Pamela Brandwein Professor Robert Mickey Professor Matthew D. Lassiter Copyright Erin Baribeau 2014 Acknowledgments First, I would like to thank Lisa Disch for her inspiration and unflagging support and guidance, both throughout my graduate career and at every step in the writing of this dissertation. I would also like to express my deep gratitude to Pamela Brandwein and Robert Mickey, both of whom have played a tremendous role in sparking my research interests, and in pushing me to be more precise when developing and articulating my ideas and arguments. Matthew Lassiter has provided great clarity and much needed historical insight for the framing of this project, and to him I am greatly indebted. The process of developing, clarifying, and revising this dissertation was truly a collective effort. For their help, I thank Danielle LaVaque-Manty, Scott Beal at the Sweetland Center for Writing, my friends and colleagues in the Political Theory Workshop at Michigan, my Fall 2013 Sweetland Dissertation Writing Group, and participants at the "Theory in Black and White" panel at the 2014 Meeting of the Southern Political Science Association, and the "Race in North America" panel at the 2014 Meeting of the Western Political Science Association. For their generous financial support for research and travel, I also thank the Department of Political Science at Michigan. -
Incidental Social Learning Among Black and White Viewers in Relation to Luthorit Rian S Characterizations in Pripe-Rise Ntertaiiment
DOCUMENT RESUME. ED 122 279 CS 202 O84 AUTHOR Leckenby, John .D.'; Su'rlin Stuart 0. : 'TITLE incidental Social Learning Among Black and White Viewers in Relation to luthorit rian s Characterizations in Pripe-rise ntertaiiment . Programmidg. PUB DATE 75 4 NOTE 25p.: Paper presedted at th nnual Meeting of the Association for Education in Journalism (Ottawa, Ontario, August 1975) 0 'EDRS PRICt 3?-$0.83 5C$1.67 Plus Postage DESCiIPTORS Adult Learning; *Authoritarianism; Caucasian Race; *Incidental Learning; sass Media; Negro Attitudes; Observational Learning; *Racial Attitudes; Social ittitudes; Social ?actors; Social Influences; *Social Values; Television Research; Television Shrveys; *Television Viewing IDENTIFIERS All in the Family; Sanford and Son ABSTRACT The nature of incidental social learning in 'television viewers in the Fasily" and "Sanford and Son" was the focus of this invLigation. Seven hundred and eight-one racially and'econosically AO-Zed respondents fro. Chicago and Atlanta provided the data source. Telephone interviews attempted ta-assess viewer opinions of the reality of characters po rayed and racial' attitudes assumed, entertainment value of the progTa sing, and presende of a moral lesson. Frequency of viewing, identi ication with a.specific character, and levels of cultural estrang sent, powerlessness, and meaninglessness Were also assessed.:Pindin ggest that high frequency viewers of both programs find the programming t b t . entertaining and revealing of actual behavior of the-gro s 'portrayed. These individuals are inclined to agree with the authoritarian views of the major characters in the two prograps4 ,"Fred" and "Archie." In addition, a'high correlation existed between high4frequency viewing and viewer self-perception of alienation and estrangement from the outside world.