Elon Journal of Undergraduate Research in Communications
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P Arsons 72-Hour Sale!
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Christians in the Movies: a Century of Saints and Sinners Bryan Polk Penn State Abington, [email protected]
Journal of Religion & Film Volume 17 Article 2 Issue 2 October 2013 10-2-2013 Christians in the Movies: A Century of Saints and Sinners Bryan Polk Penn State Abington, [email protected] Recommended Citation Polk, Bryan (2013) "Christians in the Movies: A Century of Saints and Sinners," Journal of Religion & Film: Vol. 17 : Iss. 2 , Article 2. Available at: https://digitalcommons.unomaha.edu/jrf/vol17/iss2/2 This Book Review is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. Christians in the Movies: A Century of Saints and Sinners Abstract This is a book review of Peter Dans' Christians in the Movies: A Century of Saints and Sinners (Lanham, MD: Rowman and Littlefield, 2009). Author Notes Bryan Polk, Senior Lecturer in Religious Studies at Penn State Abington, is a graduate of Susquehanna University (B.A., Religion, 1977), Lutheran Theological Seminary, Philadelphia (M.Div., 1981), and Beaver College, now Arcadia University, Glenside, PA (M.A., English, 1995). His interests, in addition to religion and film, are in the areas of Fundamentalism in Judaism, Christianity, and Islam, Medieval Literature, and Biblical Studies. His publications include articles on "Jesus as a Trickster God" and "The eM dieval Image of the Hero in the Harry Potter Novels," and he has written six--unpublished--novels. He lives in Abington, Pennsylvania. This book review is available in Journal of Religion & Film: https://digitalcommons.unomaha.edu/jrf/vol17/iss2/2 Polk: Christians in the Movies Peter Dans has written an important book, Christians in the Movies: A Century of Saints and Sinners (2009) which brings to light a number of critical insights and presents a lucid exposition of how the Motion Picture Production Code and The Catholic Legion of Decency influenced Hollywood and American society for decades. -
Re-Mixing Old Character Tropes on Screen: Kerry Washington, Viola Davis, and the New Femininity by Melina Kristine Dabney A
Re-mixing Old Character Tropes on Screen: Kerry Washington, Viola Davis, and the New Femininity By Melina Kristine Dabney A thesis submitted to the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master of Arts Department of Film Studies 2017 This thesis entitled: Re-mixing Old Character Tropes on Screen: Kerry Washington, Viola Davis, and the new Femininity written by Melina Kristine Dabney has been approved for the Department of Film Studies ________________________________________________ (Melinda Barlow, Ph.D., Committee Chair) ________________________________________________ (Suranjan Ganguly, Ph.D., Committee Member) ________________________________________________ (Reiland Rabaka, Ph.D., Committee Member) Date: The final copy of this thesis has been examined by the signatories, and we Find that both the content and the form meet acceptable presentation standards Of scholarly work in the above mentioned discipline. Dabney, Melina Kristine (BA/MA Film Studies) Re-mixing Old Character Tropes on Screen: Kerry Washington, Viola Davis, and the New Femininity Thesis directed by Professor Melinda Barlow While there is a substantial amount of scholarship on the depiction of African American women in film and television, this thesis exposes the new formations of African American femininity on screen. African American women have consistently resisted, challenged, submitted to, and remixed racial myths and sexual stereotypes existing in American cinema and television programming. Mainstream film and television practices significantly contribute to the reinforcement of old stereotypes in contemporary black women characters. However, based on the efforts of African American producers like Shonda Rhimes, who has attempted to insert more realistic renderings of African American women in her recent television shows, black women’s representation is undergoing yet another shift in contemporary media. -
Fundamentals of Management: Essentials Concepts and Applications (8Th Edition)
MyManagementLab® MyManagementLab is an online assessment and preparation solution for courses in Principles of Management, Human Resources, Strategy, and Organizational Behavior that helps you actively study and prepare material for class. Chapter- by-chapter activities, including study plans, focus on what you need to learn and to review in order to succeed. Visit www.mymanagementlab.com to learn more. FUNDAMENTALS OF MANAGEMENT ESSENTIAL CONCEPTS AND APPLICATIONS This page intentionally left blank FUNDAMENTALS OF MANAGEMENT 8e ESSENTIAL CONCEPTS AND APPLICATIONS STEPHEN P. ROBBINS San Diego State University DAVID A. DECENZO Coastal Carolina University MARY COULTER Missouri State University Boston Columbus Indianapolis New York San Francisco Upper Saddle River Amsterdam Cape Town Dubai London Madrid Milan Munich Paris Montréal Toronto Delhi Mexico City Sao Paulo Sydney Hong Kong Seoul Singapore Taipei Tokyo Editorial Director: Sally Yagan Senior Acquisitions Editor: Kim Norbuta Editorial Project Manager: Claudia Fernandes Director of Marketing: Maggie Moylan Senior Marketing Manager: Nikki Ayana Jones Marketing Assistant: Ian Gold Senior Managing Editor: Judy Leale Production Project Manager: Kelly Warsak Senior Operations Supervisor: Arnold Vila Operations Specialist: Cathleen Petersen Creative Director: Blair Brown Senior Art Director: Kenny Beck Text Designer: Michael Fruhbeis Cover Designer: Michael Fruhbeis Cover Art: LCI Design Manager, Rights and Permissions: Hessa Albader Medial Project Manager, Production: Lisa Rinaldi Senior Media Project Manager: Denise Vaughn Full-Service Project Management: Sharon Anderson/Bookmasters, Inc. Composition: Integra Software Services Printer/Binder: Courier/Kendallville Cover Printer: Lehigh-Phoenix Color Text Font: 10/12 Times Credits and acknowledgments borrowed from other sources and reproduced, with permission, in this textbook appear on appropriate page within text. -
Black Women in Primetime Soap Opera: Examining Representation Within Genre Television
Black Women in Primetime Soap Opera: Examining Representation within Genre Television by Courtney Suggs A Thesis Submitted in Partial Fulfillment of Requirements for the Degree of Master of Science in Media Studies Middle Tennessee State University December 2019 Dissertation Committee: Dr. Katie Foss, Chair Dr. Sanjay Asthana Dr. Sally Ann Cruikshank ABSTRACT Using textual genre analysis, this research studied representation in primetime soap operas Scandal, How To Get Away with Murder, and Empire. Two hundred and eighty- three episodes were viewed to understand how black female identity is represented in primetime soap and how genre influences those representation. Using Collins (2009) theory of controlling images, this study found that black female protagonists were depicted as jezebels and matriarchs. The welfare mother stereotype was updated by portrayals of black woman as hard working. Soap opera conventions such as heavy talk helped provide context to stereotypical portrayals while conventions such as melodrama lead to reactive characterization. ii TABLE OF CONTENTS CHAPTER I: INTRODUCTION……………………………………………….….....1 Background……………………………………………………...………........3 CHAPTER II: LITERATURE REVIEW.....................................................................9 Black Women in Scripted Television…...........................................................9 Television Effects on Viewers……………………………………………....14 CHAPTER III: THEORETICAL FRAMEWORK………………………………....18 Representation Theory……………………………………………………...18 Genre Theory……………………………………………………………….19 -
A Gentleman's Gentleman & Other Characters of In-Betweenness
A Gentleman’s Gentleman & Other Characters of In-betweenness Problematized Binary Oppositions in Wes Anderson’s The Grand Budapest Hotel, The Royal Tenenbaums & Fantastic Mr. Fox Tess Kamphorst (10994297) | MA Thesis Comparative Cultural Analysis | 15 June 2016 UvA | Supervisor: prof. dr. M.D. Rosello | Second reader: dr. N. Martin Kamphorst 2 Table of Contents Acknowledgements 3 Introduction 4 1. The Grand Budapest Hotel 10 1.1 Introducing the film & M. Gustave 10 1.2 In between classes 12 1.3 In between the Subaltern and the powerful 18 2. The Royal Tenenbaums 22 2.1 Introducing the film & Margot Tenenbaum 22 2.2 In between visibility and invisibility 23 2.3 In between family and outsider 29 3. Fantastic Mr. Fox 35 3.1 Introducing the film & Mr. Fox 35 3.2 In between human and animal 37 3.3 In between locations: underground and aboveground 43 Conclusion 49 Works Cited 54 Kamphorst 3 Acknowledgements Hereby, I would like to use the opportunity to express my gratitude to my supervisor Mireille Rosello, who provided me with very useful comments and surprising new insights that really encouraged me to take my research to a higher level after every feedback session. Also, I am highly grateful to Marilyn for proof-reading this thesis. Evertjan, thank you so much for all your moral support and the indispensable reminder that you should never change your object. Maaike, thank you for all our days of studying together and the much needed accompanying coffee breaks – even when your own thesis was already finished. Lieke, thank you for a wonderful (study) time in Boston and the willingness to ride the New York subway for an hour to see the Tenenbaum house in real life. -
Postnormal Imaginings in Wes Anderson's the Darjeeling Limited
Postnormal Imaginings in Wes Anderson’s The Darjeeling Limited Perpetuating Orientalist and neocolonial representations, biases, and stereotypes as pretentious comedy is the new creed of the American New Wave Movement JOHN A. SWEENEY THE HISTORY OF THE INDIAN RAILWAY SYSTEM PRESENTS A FABLE SOME 150 YEARS old—one that helped to defne the very topography of the sub-continent and its people. Emphasizing the lasting impact of trains on India, Srinivasan observes, “Railways made India a working and recognizable structure and political and economic entity, at a time when many other forces militated against unity. Through their own internal logic, their transformation of speed and the new dynamic of the economic changes they made possible, the railways defnitively altered the Indian way of life” (Srinivasan, 2006, pxiii). While assisting in the alteration of identities, Indian railways simultaneously united and partitioned the sub-continent on a seemingly unimaginable scale. “If you dug up all the rail track in India and laid it along the equator,” writes Reeves, “you could ride around the world one-and-a- half times.” This enormous enterprise, which occurred when the idea of “India” as an integrated political unit “remained very much an imaginary notion,” originated as the fanciful legacy of British rule, which sought a material means to coalesce its occupation (Reeves, 2006, pxiii). The railway was both the cause and efect of Britain’s colonial sovereignty; the very “idea of establishing and expanding a railway system in India ofered the most vibrant excitement in colonial mind” (Iqbal, 2006, p173). The vast colonial East-West Afairs 75 project was “the work of the capitalist interest in Britain” but it “fourished and expanded frst on ground which was essentially ‘mental’” (Iqbal, 2006, p183). -
The Royal Tenenbaums Free
FREE THE ROYAL TENENBAUMS PDF Wes Anderson,Owen Wilson | 160 pages | 30 Jan 2002 | FABER & FABER | 9780571215454 | English | London, United Kingdom The Royal Tenenbaums () - Plot Summary - IMDb Where the soundtrack to Rushmore captured that film's mix of brash and bittersweet through British Invasion The Royal Tenenbaums and Mark Mothersbaugh's playfully poignant score, the music for The Royal Tenenbaums -- Wes Anderson's tale of a prodigal patriarch and the brood of child geniuses he left behind -- evokes the film's shabbily genteel New York through vintage folk-pop, classic punk, and a Mothersbaugh score that gives the delicacy of his earlier scores a newfound maturity. In between, the music ranges from Elliott Smith's quietly devastating "Needle in the Hay" to the manic energy of the Ramones' "Judy is a Punk" and the Clash's "Police and Thieves" to the hazy glow of Bob Dylan's "Wigwam," each track The Royal Tenenbaums to the album's strangely timeless but emotionally direct atmosphere. Nearly as clever and nuanced as the film itself, The Royal Tenenbaums is also a moving, well-rounded album in its own right. AllMusic relies heavily on JavaScript. Please enable JavaScript in your browser to use the site fully. Blues Classical Country. Electronic Folk International. Jazz Latin New Age. Aggressive Bittersweet Druggy. Energetic Happy Hypnotic. Romantic Sad Sentimental. Sexy Trippy All Moods. Drinking Hanging Out In Love. Introspection Late Night Partying. Rainy Day Relaxation Road Trip. Romantic Evening Sex All Themes. Features Interviews Lists. Streams Videos All Posts. Release Date December 11, The Royal Tenenbaums Listing. Mark Mothersbaugh. -
Pierre Laclede Honors College
PIERRE LACLEDE HONORS COLLEGE University of Missouri-St. Louis Spring 2013 Courses AHG=fulfills American History & Government requirement; CD=fulfills Cultural Diversity requirement; GA=fulfills Global Awareness requirement; H=fulfills Humanities requirement; MS=fulfills Math/Science requirement; NS=fulfills Natural Science requirement; SS=fulfills Social Science requirement; WC=fulfills Writing Certificate HONORS 1100 -001 #11391 HONORS 1201 -004 #11396 (H) Freshman Composition Freshman Symposium: Cultural Traditions II MW 11:00-12:15 Baldus, K. Villa 155 TR 12:30-1:45 Friedline, G. Villa 155 (See Section 006 for course description) Freshman Composition: This course, the first in the Honors College writing sequence, is required and should be HONORS 1201 -005 #11397 (H) taken during freshman year. Through formal and informal Freshman Symposium: Cultural Traditions II writing assignments, discussion, instruction, and research, TR 2:00-3:15 Dwiggins, K. Seton students will improve their critical reading, thinking, and (See Section 006 for course description) writing skills, and their research techniques. The course is designed to help students meet the rigorous challenges of HONORS 1201 -006 #13264 (H) college writing across the disciplines by emphasizing Freshman Symposium: Cultural Traditions II intellectual inquiry, logic, style, correct and concise expression, TR 9:30-10:45 Dwiggins, K. Seton and formal research and documentation. Students will write 4 to 5 formal papers, and informal reading and writing assignments This course will continue our introduction to college and will be required. our reflections on different approaches to education that we started in Cultural Traditions I. By surveying Western and Non- HONORS 1110 -001 #14249 (H) Western cultures from 1750 to the present, it will examine the Western Traditions: Humanities intellectual traditions of a wide variety of cultures through their TR 2:00-3:15 Balogh, M. -
[Modern Brown]
[Modern Brown] by [Olvard Liche Smith ] A Thesis submitted to the Graduate School-Newark Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Fine Arts in Creative Writing Rutgers University – Newark MFA Program Written under the direction of [Alice Elliott Dark] And approved by Jayne Anne Phillips ________________________________ ________________________________ Newark, New Jersey May 2015 2015 Olvard Liche Smith ALL RIGHTS RESERVED TABLE OF CONTENTS Modern Brown……………………………………………………………………….. 1 Prince………………………………………………………………………………… 32 Strange Blood……………………………………………………………………….... 58 The Last Variant…………………………………………………………………….... 85 Louie’s………………………………………………………………………………… 114 Grand Gesture………………………………………………………………………..... 129 1 Modern Brown I grew up in Hawthorne, California, in a black neighborhood where I never knew if I could say nigga, even around my best friend Marcel. Marcel said nigga all the time but he was shoe polish black and talked with an urban twang. Brown-skinned and mixed, I didn’t even ask permission. We spent all our lunch periods together in the schoolyard, watching the other kids play handball, tetherball, and basketball. I’ve enjoyed playing those games many times, but chilling was just our thing. I was twelve, and didn’t want to play as often anymore; I’d calmed down in some ways and found excitement in others. I was over kid shit, and I assumed Marcel was too. So lunch periods we leaned against the chain- linked fence, discussing basketball or rap—usually rap. “Cam G is mad fresh son,” Marcel said, “That nigga’s flow is amazing. Efren, you gotta hear his new song. Nigga in the video with mad bitches dancing on him, shoving his face in they chest. -
The Royal Tenenbaums Clip 1
The Royal Tenenbaums 2001 US Gene Hackman, Anjelica Huston c. 6 min. Introduction 49 - The Royal Tenenbaums Clip 1 - YouTube IMDb • grammar points: present perfect, must, as...as, 3°conditional, let's, shall, superlative, will, reflexive, past perfect, most of, could, imperative, since • phrasal verbs: get, standing up, go into business, run away, camp out, mad at survived on, come back, take on, put out, sleep over, dress up • idioms: have children, look, leave, fault, Well, just, raise children, two-part, early teens, hold it, turn pro, in a row, regular fixture, a bunch of ........................................................................................................................................... NARRATOR (Voice of Alec Baldwin): Royal Tenenbaum bought the house on Archer Avenue in the winter of his 35th year. Over the next decade he and his wife had three children, and then they separated. MARGOT: Are you getting divorced? ROYAL: At the moment, no...but... it doesn't look good. RICHIE: Do you still love us? ROYAL: Of course I do. CHAS: Do you still love Mom? ROYAL: Yes, very much...but your mother has asked me to leave, and I must respect her position on the matter. MARGOT: Is it our fault? ROYAL: No...No...Obviously, we made certain sacrifices as a result of having children, but, uh...no, Lord, no. RICHIE: Then why did she ask you to leave? ROYAL: I don't really know anymore. Maybe, I wasn't as true to her as I could have been. CHAS: Well, she said... ROYAL: Let's just drop it shall we, uh, Chassie? NARRATOR: They were never legally divorced. ROYAL: Thank you, Pagoda. -
Scriptural Sources for Renewal by Very Rev
Scriptural Sources for Renewal By Very Rev. Robert Barron 2015 Anglophone Conference, Pontifical Gregorian University The Catholic Church, especially in the West, has been passing through one of the very worst crises in its history. The clergy sex abuse scandal has compromised the work of the Church in almost every way. It has adversely affected teaching, preaching, evangelization, the recruitment of priests and religious; it has cost many billions of dollars which could otherwise have supported the Church’s mission; it has almost thoroughly undermined the credibility of the Church’s ministers, and of course most terribly, it has deeply wounded many thousands of the most innocent, those the Church is specially charged to protect. Given the gravity of this crime, it is just that the Church should suffer. Those who reverence the Bible as the Word of God will not be surprised to discover that the Scriptures have a good deal to say about this crisis. I believe that any approach to solving it—psychological, legal, institutional, etc.—must be grounded, finally, in the wisdom of God’s revealed Word; otherwise, it will be a chase after wind. I would suggest that we begin at the beginning, with the account of creation in the book of Genesis. In almost all of the other accounts of creation from the ancient world, order comes to the universe through some primordial act of violence, typically the victorious struggle of one god against another. Very often the elements of the world are made up of the severed body parts of the conquered deity.