La Voz De Seguin San Antonio.Pmd

Total Page:16

File Type:pdf, Size:1020Kb

La Voz De Seguin San Antonio.Pmd Volume 3 Number 3 A Bi-cultural Publication La Voz February/March, 2014 March for Justice March 31st, 2014 Page 2 La Voz Newspaper - February/March, 2014 People in the News Georgine America Ferrera (born April 18, 1984) is an American actress. She is best known for her leading role as Betty Suarez on the ABC televi- sion series Ugly Betty (2006–2010). Her portrayal garnered critical acclaim, and she won the Golden Globe Award for Best Actress – Television Series Guillermo Rodriguez Musical or Comedy, the Screen Ac- Michael Peña tors Guild Award for Outstanding El Pistolero de as Cesar Chavez Performance by a Female Actor in a in New Movie Jimmy Kimmel Comedy Series, and the Primetime Cristina Tzintzún Emmy Award for Outstanding Lead Rosario Dawson is Named Hero of the Michael Anthony Peña is portray- Actress in a Comedy Series. New South ing Cesar Chavez in the new movie During the week of South by South- Dolores Huerta in the about the legendary labor leader’s life west in Austin, Texas, the Jimmy This year she will be appearing in the New Chavez Movie Cristina Tzintzún, Executive Di- which is set to hit movie theaters new Kimmel Live Show was broadcast motion picture, Cesar Chavez as the rector of the Workers Defense month. from the Palmer Center in downtown wife of the legendary labor leader. The In the new movie about the life and Project (WDP) was named “Hero of Austin, Texas. real Helen Chavez is now in her 80s work of Cesar Chavez, Rosario the New South” by Southern Living Peña is best known for his roles in and lives in La Paz, California, the Dawson plays the role of Dolores Magazine in 2013. More recently her the films Crash, World Trade Cen- Appearing nightly with Jimmy was headquarters of the United Farm Huerta who helped to co-found the organization was featured in a major ter, Shooter, Observe and Report, 30 sidekick Guillermo Rodriguez. Who Workers Union of America. National Farm Workers Association story in the New York Times. Minutes or Less, Tower Heist, End is Guillermo? Guillermo was a park- before it became the United Farm of Watch and Gangster Squad. He ing lot security guard at the Hollywood Ferrera, the youngest of six children, Workers Union of America in 1972. Cristina and the WDP, an Austin- also starred in the movie Walkout Blvd studios before being discovered. was born in Los Angeles, California. based nonprofit organization devoted where he played the role of Sal Castro. Now Guillermo has become a perma- Her parents, América Griselda Ayes Dawson, who was born in New York to improving the working conditions Born in Chicago, Illinois on January nent nighly cast members on the show. and Carlos Gregorio Ferrera, were City was one year old, her mother mar- of low-income and undocumented 13, 1976. Peña stated that he did not Guillermo is originally from originally from Tegucigalpa, Hondu- ried Greg Dawson, a construction workers in Texas have had a number know too much Cesar Chavez and Zacatecas, Mexico and was born in ras, and immigrated to the United worker, who "loved and raised Rosario of successes in their fight for justice in the farm worker movement before land- 1971. From watching cars to being a States in the mid 1970s. Her mother as his own daughter" the work place. Her organizations ef- ing the role. regular on TV, you can bet his salary worked as the director of the house- forts have led to a federal investigation has increased. Avientate Guillermo! cleaning staff for Hilton Hotels, and As a child, Dawson made a brief ap- by OSHA into Texas' deadly construc- The producers of the film include Di- stressed the importance of higher pearance on Sesame Street. At the tion industry, the passage of a state- ego Luna as the director, Gael Garcia education.When she was 7, her par- age of 15, she was subsequently dis- wide wage theft law, and better, safer Bernal, and Pablo Cruz (all princi- ents divorced and her father returned covered on her front porch step by jobs for thousands of low-wage work- pals of Canana Films); John to Honduras. Ferrera's father died in photographer Larry Clark and Har- ers in Austin and Travis. Malkovich, Lianne Halfon, and 2010. mony Korine, where Korine lauded Russell Smith, writer Keir Pearson; her as being perfect for a part he had Founded in 2002, as the Wage Claim and TV producer Larry Meli. Ferrera was raised in the Woodland written in his screenplay that would Project with group of Casa Hills section of Los Angeles, where become the controversial 1995 film Marianella staff and volunteers, the Also in the film are America Ferrera she attended Calabash Street El- Kids. She went on to star in varied project became Workers Defense who plays the role of Cesar’s wife ementary School, George Ellery roles, ranging from independent films Project/Proyecto Defenso Laboral in Helen, and Rosario Dawson is cast Hale Middle School and El Camino to big budget blockbusters including 2005. Now headquartered at 5604 as Dolores Huerta who co-founded Real High School. She entered the Rent, He Got Game, and Men in Manor Road in Austin, Texas, the the United Farm Workers Union America Ferrera is University of Southern California Black WDP is the go to place for workers to with Cesar in the 1960s. This is the Helen Chavez in the on a presidential scholarship, with a seek out help with wage theft and other first “Hollywood” movie on the life New Movie double major in theater and interna- Dawson is involved with the Lower work place issues. Para más and work of Cesar Chavez and was tional relations and graduated in May East Side Girls Club and supports información llame at (512) 391-2305. made with the permission and assis- of 2013. Amnesty International. tance of the Chavez family. PRODUCTION La Voz Newspaper - February/March, 2014 Page 3 PRODUCTION Editor & Publisher EditorAlfredo & PublisherSantos c/s Alfredo Santos c/s La Invitación EDITORIAL Managing Editors Associate Editors Yleana Santos The Cesar E. Chavez Legacy and Education Fund is proud to help keep the legacy and dream Rogelio “Smiley Rojas Kaitlyn Theiss of Cesar Chavez alive for future generations. The people of San Antonio have been very Molly Santos receptive to this yearly event and once again, we are proud to announce that the City of San Graphics MarketingJuan Gallo Antonio is a co-sponsor of the official 18th Annual Cesar E. Chavez Legacy & Education Dolores Diaz Miller Foundation March for Justice. This year, the Grand Marshall with be Dr. Ricardo Romo, RosemaryDistribution Zuniga President of the University of Texas at San Antonio. Once again, we will remember the beloved RickEl TeamLuna civil rights leader on a new route as we march down the newly named Cesar E. Chavez Blvd. - a testament to our perseverance to honor Cesar - ¡Si Se Puede! ContributingContributing Writers Writers Christina S. Morales Wayne Cesar E. Chavez is a great American hero and role model. Through his example of nonvio- Juan Flores Hector Tijerina lence, social justice, and his commitment to and the mistreatment of farm workers, improving DistributionMarisa Cano their living conditions and bringing dignity to all workers in the United States, he will always be Rebecca Martinez remembered in the hearts of the people. Jaime P. Martinez Roberto Ojeda PUBLISHER’S There is no question in my heart, and in the hearts of the people who knew Cesar Chavez, which side of the struggle he was on. STATEMENT Cesar showed us through his courageous examples that, “Si Se Puede” (Yes We Can) achieves great accomplishment through La Voz de Austin is a monthly unity, perseverance, hard work and a good education. Lapublication. Voz is a monthlyThe editorial publi- and cationbusiness covering address Guadalupe, is P.O. Box On behalf of all the Cesar E. Chavez organizing committees, we invite you to join us and march with us on Saturday, March Bexar,19457 Austin,Comal Texasand Hays 78760. Counties.The telephone The editorialnumber isand (512) 29th. A Pre-March Rally Early Worship Service and Community Program begins at 8:30am at the corner of Guadalupe and business944-4123. address The use, isreproduc- P.O. South Brazos Streets. The march to the Alamo begins at 10:00am Boxtion or19457 distribution Austin, ofTexas any or 78760.part of The this telephone publication num- is Please join us in keeping Cesar E. Chavez’s vision and dreams alive and make them a reality through our actions in the march berstrongly is (512) encouraged. 944-4123. ButThe do and throughout the year. use,call andreproduction let us know or whatdistri- you butionare using. of any Letters or part to theof this editor In Unity publicationare most welcome. is strongly en- Jaime P. Martinez couraged. But do call and Organizer-Founder let us know what you are The Cesar E. Chavez Legacy & Education Foundation using. Letters to the editor are most welcome. CECY’S CHILD CARE 33 Years of Experience Por cualquier Masters Degree in Education pregunta, Registered with the State of Texas llamanos: Bilingual - English/Spanish Mailing Address: E-mail: [email protected] Workers Defense Project Moderate childcare fees Phone: (512) 391-2305 (512) 944-4123 5604 Manor RD Fax: (512) 391-2306 (210) 414-0323 Austin, TX 78723 Page 4 La Voz Newspaper - February/March, 2014 Ray Madrigal Wins 26 Counties in March Ray Madrigal? Who? Reynaldo Madrigal, the Now here come the questions. What do these Primary Election results mean? Do the guy running for Governor. Never heard of him.
Recommended publications
  • The Analysis of Transition in Woman Social Status—Comparing Cinderella with Ugly Betty
    ISSN 1798-4769 Journal of Language Teaching and Research, Vol. 1, No. 5, pp. 746-752, September 2010 © 2010 ACADEMY PUBLISHER Manufactured in Finland. doi:10.4304/jltr.1.5.746-752 The Analysis of Transition in Woman Social Status—Comparing Cinderella with Ugly Betty Tiping Su Huaiyin Normal University, Huai’an, China Email: [email protected] Qinyi Xue Huaiyin Normal University, Huai’an, China Email: [email protected] Abstract—Cinderella, a perfect fairly tale girl has been widely known to the world. Its popularity reveals the universal Cinderella Complex hidden behind the woman status. My thesis focuses its attention on the transition in woman status. First, it looks into the Cinderella paradigm as well as its complex in reality. Second, it finds the transcendence in modern Cinderella. The last part pursues the development of women status’ improvement. In current study, seldom people make comparisons between Cinderella and Ugly Betty. With its comparison and the exploration of feminism, it can be reached that woman status have been greatly improved under the influence of different factors like economic and political. And as a modern woman lives in the new century, she has to be independent in economy and optimistic in spirit. Index Terms—Cinderella Complex, Ugly Betty, feminist movement, feminine consciousness, women status I. INTRODUCTION Cinderella, a beautiful fairy tale widely known around the world, has become a basic literary archetype in the world literature. Its popularity reveals the universal Cinderella Complex hidden behind the human’s consciousness. With the development of feminine, women came to realize their inner power and the meaning of life.
    [Show full text]
  • The Complexities of Latina Sexuality on Ugly Betty Tanya González
    IS UGLY THE NEW SEXY? The Complexities of Latina Sexuality on Ugly Betty Tanya González ABC’s Emmy and Golden Globe winning television show Ugly Betty stars America Ferrera as Betty Suarez, an intelligent Mexican American executive assistant who lives in Queens, New York, but works at Mode in Manhattan. An adaptation from the Colombian telenovela,Yo soy, Betty la fea, this television show works on a fairy tale premise: the ugly protagonist with a heart of gold will eventually obtain happiness by virtue of her goodness. However, Ugly Betty offers a protagonist with multiple love interests, constantly involving her in a variety of love triangles, begging the question, “Is ugly the new sexy?” The following analysis of Betty as a sexual subject demonstrates that Ugly Betty, within the limits of Hollywood representation, offers complex subjects instead of one-dimensional types. The show’s use of a Latino camp aesthetic continually introduces elements, like Betty’s sexuality, that push the limits of how we perceive Latinas/os on television and in everyday life. As a result, Ugly Betty surprisingly illustrates Chicana/o and Latina/o feminist theories about identity construction. ABC’s Emmy and Golden Globe winning television show Ugly Betty is a global iteration of the Colombian telenovela1 phenomenon Yo soy, Betty la fea (1999-2001). Ugly Betty, which premiered Fall 2006 and will end Spring 2010, stars America Ferrera as Betty Suarez, an intelligent, sweet, perky young Latina2 who lives in Queens, but works at Mode, a fictional representation of Vogue magazine. As the title suggests, people perceive Betty as ugly because she is not model-skinny; wears glasses, braces, and bangs; and has poor fashion sense.
    [Show full text]
  • Title of Dissertation
    SETTING UP CAMP: IDENTIFYING CAMP THROUGH THEME AND STRUCTURE A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy By Michael T. Schuyler January, 2011 Examining Committee Members: Cornelius B. Pratt, Advisory Chair, Strategic Communication John A. Lent, Broadcasting, Telecommunications & Mass Media Paul Swann, Film & Media Arts Roberta Sloan, External Member, Theater i © Copyright 2010 by Michael T. Schuyler All Rights Reserved ii ABSTRACT Camp scholarship remains vague. While academics don’t shy away from writing about this form, most exemplify it more than define it. Some even refuse to define it altogether, arguing that any such attempt causes more problems than it solves. So, I ask the question, can we define camp via its structure, theme and character types? After all, we can do so for most other genres, such as the slasher film, the situation comedy or even the country song; therefore, if camp relies upon identifiable character types and proliferates the same theme repeatedly, then, it exists as a narrative system. In exploring this, I find that, as a narrative system, though, camp doesn’t add to the dominant discursive system. Rather, it exists in opposition to it, for camp disseminates the theme that those outside of heteronormativity and acceptability triumph not in spite of but because of what makes them “different,” “othered” or “marginalized.” Camp takes many forms. So, to demonstrate its reliance upon a certain structure, stock character types and a specific theme, I look at the overlaps between seemingly disperate examples of this phenomenon.
    [Show full text]
  • Seabury 3E Sample-46417
    1212 What Does Race Have to Do With Ugly Betty? An Analysis of Privilege and Postracial(?) Representations on a Television Sitcom Jennifer Esposito he term “postracial” has been utilized in increasing amounts in the media to denote Tsome people’s perceptions that the election of Barack Obama marks a new era in our society—one in which race no longer matters. This notion, while perhaps well-meaning, contradicts the very ways our society is structured. Race is an organizing principle (Henry 1995) in institutions such as government, schools, and popular culture. We cannot think or even act without racial categories becoming prominent. ... One place where racial discourse is especially powerful is within the institution of popu- lar culture. We must continually critique and examine representations of racialized bodies, especially those bodies already marginalized within the system of racial hierarchies. In the spirit of continuing the examination of racial discourse, this chapter examines ABC’s televi- sion comedy Ugly Betty, in particular one episode that explores race-based affirmative action decisions and quotas (“When Betty Met YETI”). This episode of Ugly Betty aired two weeks after the 2008 election of Barack Obama. ... Ugly Betty, Privilege, and Affirmative Action Betty Suarez, the fashion-challenged heroine of ABC’s sitcom Ugly Betty, works as an assis- tant to the editor of Mode, a high-fashion magazine. Part of her job entails meeting the mul- tiple personal and professional needs of her boss, Daniel Meade, an irresponsible sex addict. From Esposito, J. (2009). What does race have to do with Ugly Betty? An analysis of privilege and postracial(?) representations on a television sitcom.
    [Show full text]
  • Studies International Journal of Cultural
    International Journal of Cultural Studies http://ics.sagepub.com/ Traveling style: Aesthetic differences and similarities in national adaptations of Yo soy betty, la fea Lothar Mikos and Marta Perrotta International Journal of Cultural Studies published online 10 November 2011 DOI: 10.1177/1367877911428116 The online version of this article can be found at: http://ics.sagepub.com/content/early/2011/11/09/1367877911428116 Published by: http://www.sagepublications.com Additional services and information for International Journal of Cultural Studies can be found at: Email Alerts: http://ics.sagepub.com/cgi/alerts Subscriptions: http://ics.sagepub.com/subscriptions Reprints: http://www.sagepub.com/journalsReprints.nav Permissions: http://www.sagepub.com/journalsPermissions.nav >> Proof - Nov 10, 2011 What is This? Downloaded from ics.sagepub.com at Universita' degli studi Roma Tre on November 29, 2011 International Journal of Cultural Studies 1 –17 © The Author(s) 2011 Reprints and permission: sagepub.co.uk/ journalsPermissions.nav DOI: 10.1177/1367877911428116 ics.sagepub.com Article Traveling style: Aesthetic differences and similarities in national adaptations of Yo soy Betty, la fea Lothar Mikos University of Film and Television Potsdam-Babelsberg, Germany Marta Perrotta University of Rome III, Italy Abstract The global television landscape in the first decade of the 21st century is a complex terrain of contradictory developments and trends. Since the early years of television the United States has been the most important exporter of TV series, TV serials and game shows. But nowadays times have changed. Admittedly the USA is still the leading nation in selling TV fiction all over the world, but since the deregulation of the TV market in Western Europe in the 1990s Great Britain and the Netherlands are the leading exporters of non-fiction formats like reality shows, Australia sells its soap operas all over the world and Latin American countries are important exporters of telenovelas.
    [Show full text]
  • Fat Studies, Fat Stigma, and Citizenship in US Media
    Bodies of Knowledge: Fat Studies, Fat Stigma, and Citizenship in U.S. Media Culture 157 Feminist Studies in English Literature Vol.20, No. 3 (2012) Bodies of Knowledge: Fat Studies, Fat Stigma, and Citizenship in U.S. Media Culture Dana Heller (Old Dominion University) In the summer of 2009, U.S. Fox television premiered a new series, More to Love, a dating competition show from the creators of The Bachelor and The Bachelorette. The difference in this case was that the female contestants competing for the heart of single guy, Luke Conley, were all plus‐size women. Conley himself, who stands at 6’3 and weighs 300 lbs., claimed that his ideal woman is “full‐figured and comfortable in her own skin.” According to Fox’s promotion, the series would feature “real women” in an effort to “prove that love comes in all shapes and sizes.” The series trailer emphasized the pride these women take in their size, and their refusal to see themselves as abnormal or unattractive. However, when the series aired it told quite the opposite story, as the female contestants, all of them professionally accomplished and articulate, came forward one by one to confess their miserable experiences of heterosexual vulnerability and humiliation, their perennial failures with diets and weight‐loss programs, and their most intimate struggles with 158 Dana Heller rejection and self‐hatred in a culture that encourages women to aspire to size.1 More to Love is indicative of a contradictory cultural turn in media culture that generates narratives of “fat acceptance” ― stories consistent with a burgeoning activist movement aimed at renegotiating bodily norms and changing social perceptions of overweight people, who are frequent targets of derision and discrimination.
    [Show full text]
  • Ugly Betty's BECKI NEWTON Returns to NYC
    www.resident.com • January 29-February 4, 2008 • Vol. 20, No. 33 • $2.95 www.resident.com • December 2-15, 2008 • Vol. 20, N0. 61 • $2.95 WHO'S WHO in New York The Year's Winners and Losers PLUS KITCHEN KINGS AND QUEENS and REAL ESTATE RULERS EXCLUSIVE ON LOCATION Ugly Betty's BECKI NEWTON returns to NYC Holiday Window Guide • Offi ce Party Dos and Don'ts • Luxe Vegas Escape 20 • Resident The Week Of December 2, 2008 COVER returns to New York On LocationBecki Newton Ugly Betty’s By Rachel Bowie ecki Newton is thrilled to be home again. Back in New York to shoot on Broadway. As Newton says, the rest is history. the third season of the hit TV series Ugly Betty, Newton is in the midst “Part of the reason why I’m in love with New York of redecorating her new dressing room at Silvercup Studios in Queens. is because so many things have happened here,” The personal touches are obvious — freshly painted plum walls, the she says. “I met my husband here, I had my fi rst sleek white leather couch, a framed photo of her with husband Chris apartment here and, now, this job — there are just Diamantopoulos — she has made the room her own, a well-designed so many great associations with this city.” Breminder that she is back on the East coast. Newton, 30, grew up in Connecticut and moved On Ugly Betty, Newton plays Amanda, the receptionist and resident mean girl at to New York fresh out of college after earning a the Vogue-esque fashion magazine Mode.
    [Show full text]
  • Will Ugly Betty Ever Find a Job in Italy?
    UNIVERSITÀ POLITECNICA DELLE MARCHE ________________________________________________________________________________________________________________________________________________________ DIPARTIMENTO DI SCIENZE ECONOMICHE E SOCIALI WILL UGLY BETTY EVER FIND A JOB IN ITALY? GIOVANNI BUSETTA & FABIO FIORILLO QUADERNO DI RICERCA n. 391 ISSN: 2279-9575 Ottobre 2013 Comitato scientifico: Renato Balducci Marco Gallegati Alberto Niccoli Alberto Zazzaro Collana curata da: Massimo Tamberi * Will Ugly Betty ever find a job in Italy? Giovanni Busetta** and Fabio Fiorillo*** preliminary version, do not quote JEL classification: C93, J71, J78 Keywords: beauty premium, racial discrimination, experimental economics. ABSTRACT This paper evaluates the impact of beauty on employability, stressing the first stage of the hiring process. In particular, we studied the Italian labor market in order to ascertain whether there exists a preference for attractive applicants according to gender and racial characteristics. The sample analyzed consists of observations collected by sending 11008 curricula vitae (henceforth CVs) to firms looking for workers in response to advertised job postings. Positive responses were obtained by 3278 CVs (almost 30% of the sample). We then compared response rates of different categories, obtaining the following results: those who receive the highest levels of positive responses are attractive subjects; most of the responses to plain subjects involve unqualified jobs; beauty appears to be essential for front clerical work; racial discrimination appears to be significant, but less so than discrimination based on physical features, especially for women. 1. Introduction In 2006, ABC started a new TV series called “Ugly Betty”, which ironically explores the impact of concepts such as beauty, class, race, and sex. This series won several awards because it represents a possible way to shed the light on this kind of discrimination in everyday life.
    [Show full text]
  • La Construcción Televisiva De La Poblacion Migrante Mexicana En Eu
    BELLEZA, FEALDAD Y OTREDAD: LA CONSTRUCCIÓN TELEVISIVA DE LA POBLACION MIGRANTE MEXICANA EN E.U. A TRAVÉS DE UGLY BETTY. Tesis presentada por Sandra Leticia Murillo Sandoval para obtener el grado de MAESTRA EN ESTUDIOS SOCIOCULTURALES Tijuana, B. C., México 2010 CONSTANCIA DE APROBACIÓN Director de Tesis: Dr. Luis Escala Rabadán Aprobada por el Jurado Examinador: 1. 2. 3. DEDICATORIA Dedicar mi tesis es algo que he hecho en todo momento porque eso me ha dado fuerzas para terminarla. Dedico la tesis a mis personas especiales a las que adoro: A mis Padres. Porque sin su ayuda no habría aplicado a esta maestría, no hubiera podido desplazarme, no podría seguir adelante, superando metas y durmiendo tranquila. Gracias porque aún están aquí y han decidido apoyarme aunque me pare de cabeza. Porque me dejaron irme y regresar, por no decir NO, nunca, aunque eso implicara estar lejos de mí. Por obligarme a comer y regañarme cuando no salía del cuarto por culpa de los miles ensayos, lecturas, exámenes y trabajos que debía hacer o revisar. GRACIAS otra vez, en otra tesis, porque ni con todo el amor o el dinero del mundo podré pagar lo que soy o lo que pienso… LOS AMO… POR SIEMPRE… A CADA MOMENTO… A mi Hermano y su familia que es la mía. Por compartir conmigo y apoyarme, aunque por dentro estén seguros que pierdo tiempo y dinero. Gracias Iván y Susy porque durante este proyecto trajeron al mundo a la personita que más me ha gustado conocer durante este tiempo: IVANA. Porque me hizo saber que puedo dejar de hacer lo que sea (eso incluye dormir) por verla correr, destruir cosas y sonreír.
    [Show full text]
  • A Focus Group Analysis of and Reaction to Ugly Betty
    The Qualitative Report Volume 19 Number 10 Article 2 3-10-2014 Identifying Ugliness, Defining Beauty: A ocusF Group Analysis of and Reaction to Ugly Betty Adria Goldman Gordon State College Damion Waymer Texas A&M University, [email protected] Follow this and additional works at: https://nsuworks.nova.edu/tqr Part of the Quantitative, Qualitative, Comparative, and Historical Methodologies Commons, and the Social Statistics Commons Recommended APA Citation Goldman, A., & Waymer, D. (2014). Identifying Ugliness, Defining Beauty: A ocusF Group Analysis of and Reaction to Ugly Betty. The Qualitative Report, 19(10), 1-19. https://doi.org/10.46743/2160-3715/ 2014.1263 This Article is brought to you for free and open access by the The Qualitative Report at NSUWorks. It has been accepted for inclusion in The Qualitative Report by an authorized administrator of NSUWorks. For more information, please contact [email protected]. Identifying Ugliness, Defining Beauty: A ocusF Group Analysis of and Reaction to Ugly Betty Abstract This article discusses the ideological construct “beauty” that permeates our society by focusing specifically on socially constructed ideals of beauty and ugliness as they are represented in media text, specifically, in the TV sitcom Ugly Betty. For this study we conducted focus group interview sessions to explore the influence an alternative representation of beauty and ugliness, as portrayed in the show Ugly Betty, has on college aged females’ definition and interpretation of beauty—typically questions explored using traditional experimental and other quantitative methods. Moreover, this study provides insights into tensions surrounding how beauty and ugliness are defined and the implications of these definitions for women.
    [Show full text]
  • (Don't) Wear Glasses: the Performativity of Smart Girls On
    GIRLS WHO (DON'T) WEAR GLASSES: THE PERFORMATIVITY OF SMART GIRLS ON TEEN TELEVISION Sandra B. Conaway A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2007 Committee: Kristine Blair, Advisor Julie Edmister Graduate Faculty Representative Erin Labbie Katherine Bradshaw © 2007 Sandra Conaway All Rights Reserved iii ABSTRACT Kristine Blair, Advisor This dissertation takes a feminist view of t television programs featuring smart girls, and considers the “wave” of feminism popular at the time of each program. Judith Butler’s concept from Gender Trouble of “gender as a performance,” which says that normative behavior for a given gender is reinforced by culture, helps to explain how girls learn to behave according to our culture’s rules for appropriate girlhood. Television reinforces for intellectual girls that they must perform their gender appropriately, or suffer the consequences of being invisible and unpopular, and that they will win rewards for performing in more traditionally feminine ways. 1990-2006 featured a large number of hour-long television dramas and dramedies starring teenage characters, and aimed at a young audience, including Beverly Hills, 90210, My So-Called Life, Buffy the Vampire Slayer, Freaks and Geeks, and Gilmore Girls. In most teen shows there is a designated smart girl who is not afraid to demonstrate her interest in math or science, or writing or reading. In lieu of ethnic or racial minority characters, she is often the “other” of the group because of her less conventionally attractive appearance, her interest in school, her strong sense of right and wrong, and her lack of experience with boys.
    [Show full text]
  • Ugly Betty’ Depicts Fashion Magazine Journalists
    The Good, The Bad and The Ugly: How the Television Show ‘Ugly Betty’ Depicts Fashion Magazine Journalists By Dawn Temples Appendix Ugly Betty Episodes- Primary Research 1) Pilot aired September 28, 2006. Betty Suarez lands her first job as a journalist with Meade Publications at MODE magazine. She is hired as the assistant to the editor-in-chief. It is an adjustment for Suarez to join the team at MODE because she is not fashion savvy and does even wear makeup or style her hair. This story is a basic fish-out-of-water tale that throws a young hopeful into the world of a fast-paced fashion magazine. 2) “The Box and the Bunny” aired October 5, 2006. Suarez loses “the book,” a mockup of the latest issue of the magazine that contains untouched-up pictures of an actress. She has to find “the book” before the pictures can be leaked to other media. Wilhelmina Slater plots to steal the job of editor-in-chief and Bradford Meade investigates the murder of Fey Sommers, former editor-in-chief. 3) “Queens for a Day” aired October 12, 2006. Suarez has a connection with a famous photographer, Vincent Bianchi, because the two are from Queens. He has vowed never to work with Meade Publications again after a bad incident in the past. Suarez gets a makeover to try to fit in at MODE, but realizes that she is really appreciated for being the person that she is. Bianchi does the shoot for MODE. Bradford Meade still investigating Sommers’ murder. 4) “Fey’s Sleigh Ride” aired October 19, 2006.
    [Show full text]