Mad Men Is MEN MAD MEN Unquestionably One of the Most Stylish, Sexy, and Irresistible Shows on Television

Total Page:16

File Type:pdf, Size:1020Kb

Mad Men Is MEN MAD MEN Unquestionably One of the Most Stylish, Sexy, and Irresistible Shows on Television PHILOSOPHY/POP CULTURE IRWIN SERIES EDITOR: WILLIAM IRWIN EDITED BY Is DON DRAPER a good man? ROD CARVETH AND JAMES B. SOUTH What do PEGGY, BETTY, and JOAN teach us about gender equality? What are the ethics of advertising—or is that a contradiction in terms? M Is ROGER STERLING an existential hero? AD We’re better people than we were in the sixties, right? With its swirling cigarette smoke, martini lunches, skinny ties, and tight pencil skirts, Mad Men is MEN MAD MEN unquestionably one of the most stylish, sexy, and irresistible shows on television. But the series and PHILOSOPHY becomes even more absorbing once you dig deeper into its portrayal of the changing social and political mores of 1960s America and explore the philosophical complexities of its key Nothing Is as It Seems characters and themes. From Socrates, Plato, and Aristotle to John Kenneth Galbraith, Milton and Friedman, and Ayn Rand, Mad Men and Philosophy brings the thinking of some of history’s most powerful minds to bear on the world of Don Draper and the Sterling Cooper ad agency. You’ll PHILOSOPHY gain insights into a host of compelling Mad Men questions and issues, including happiness, freedom, authenticity, feminism, Don Draper’s identity, and more—and have lots to talk about the next time you fi nd yourself around the water cooler. ROD CARVETH is an assistant professor in the Department of Communications Media at Fitchburg State College. Nothing Is as It Seems Nothing Is as JAMES B. SOUTH is chair of the Philosophy Department at Marquette University. He edited Buffy the Vampire Slayer and Philosophy and James Bond and Philosophy. WILLIAM IRWIN is a professor of philosophy at King’s College in Wilkes-Barre, Pennsylvania. He originated the philosophy and popular culture genre of books as coeditor of the bestselling The Simpsons and Philosophy and has overseen recent titles including Batman and Philosophy, House and Philosophy, and Twilight and Philosophy. To learn more about the Blackwell Philosophy and Pop Culture series, visit www.andphilosophy.com $17.95 USA/$21.95 CAN EDITED BY Cover Design and Graphic: Susan Olinsky CARVETH SOUTH BLACKWELL PHILOSOPHY AND POP CULTURE SERIES This book has not been approved, licensed, or sponsored by any entity or person involved in creating or producing Mad Men, the TV series. ISBN: 978-0-470-60301-7 EAN: 9780470603017 ftoc.indd viii 4/15/10 9:23:57 AM MAD MEN AND PHILOSOPHY ffirs.indd i 4/15/10 9:23:07 AM The Blackwell Philosophy and Pop Culture Series Series Editor: William Irwin South Park and Philosophy Watchmen and Philosophy Edited by Robert Arp Edited by Mark D. White Metallica and Philosophy X-Men and Philosophy Edited by William Irwin Edited by Rebecca Housel and J. Jeremy Wisnewski Family Guy and Philosophy Edited by J. Jeremy Wisnewski Terminator and Philosophy Edited by Richard Brown and The Daily Show and Philosophy Kevin Decker Edited by Jason Holt Heroes and Philosophy Lost and Philosophy Edited by David Kyle Johnson Edited by Sharon Kaye Twilight and Philosophy 24 and Philosophy Edited by Rebecca Housel and Edited by Richard Davis, Jennifer J. Jeremy Wisnewski Hart Weed, and Ronald Weed Final Fantasy and Philosophy Battlestar Galactica and Edited by Jason P. Blahuta and Philosophy Michel S. Beaulieu Edited by Jason T. Eberl Alice in Wonderland and The Offi ce and Philosophy Philosophy Edited by J. Jeremy Wisnewski Edited by Richard B. Davis Batman and Philosophy Iron Men and Philosophy Edited by Mark D. White and Edited by Mark D. White Robert Arp True Blood and Philosophy House and Philosophy Edited by George A. Dunn and Edited by Henry Jacoby Rebecca Housel ffirs.indd ii 4/15/10 9:23:08 AM MAD MEN AND PHILOSOPHY NOTHING IS AS IT SEEMS Edited by Rod Carveth and James B. South John Wiley & Sons, Inc. ffirs.indd iii 4/15/10 9:23:08 AM Copyright © 2010 by John Wiley & Sons. All rights reserved Published by John Wiley & Sons, Inc., Hoboken, New Jersey Published simultaneously in Canada No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, (978) 750-8400, fax (978) 646-8600, or on the web at www.copyright.com. Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, (201) 748-6011, fax (201) 748-6008, or online at http://www.wiley.com/go/permissions. Limit of Liability/Disclaimer of Warranty: While the publisher and the author have used their best efforts in preparing this book, they make no representations or warranties with respect to the accuracy or completeness of the contents of this book and specifi cally disclaim any implied warranties of merchantability or fi tness for a particular purpose. No warranty may be created or extended by sales representatives or written sales materials. The advice and strategies contained herein may not be suitable for your situation. You should consult with a professional where appropriate. Neither the publisher nor the author shall be liable for any loss of profi t or any other commercial damages, including but not limited to special, incidental, consequential, or other damages. For general information about our other products and services, please contact our Customer Care Department within the United States at (800) 762–2974, outside the United States at (317) 572–3993 or fax (317) 572–4002. Wiley also publishes its books in a variety of electronic formats. Some content that appears in print may not be available in electronic books. For more information about Wiley products, visit our web site at www.wiley.com. Library of Congress Cataloging-in-Publication Data: Mad men and philosophy : nothing is as it seems / edited by Rod Carveth and James B. South. p. cm. — (The Blackwell philosophy and pop culture series) Includes index. ISBN 978-0-470-60301-7 (pbk.) 1. Mad men (Television program) I. Carveth, Rod. II. South, James B. PN1992.77.M226M33 2010 791.45'72—dc22 2010005158 Printed in the United States of America 10 9 8 7 6 5 4 3 2 1 ffirs.indd iv 4/15/10 9:23:08 AM CONTENTS ACKNOWLEDGMENTS: “I Think We Need to Salute That!” ix Introduction: “A Thing Like That” 1 PART ONE “PEOPLE MAY SEE THINGS DIFFERENTLY, BUT THEY DON’T REALLY WANT TO”: MAD MEN AND PROBLEMS OF KNOWLEDGE AND FREEDOM 1 What Fools We Were: Mad Men, Hindsight, and Justifi cation 5 Landon W. Schurtz 2 “People Want to Be Told What to Do So Badly That They’ll Listen to Anyone”: Mimetic Madness at Sterling Cooper 20 George A. Dunn 3 Capitalism and Freedom in the Affl uent Society 34 Kevin Guilfoy v ftoc.indd v 4/15/10 9:23:56 AM vi CONTENTS PART TWO “THERE IS NO BIG LIE, THERE IS NO SYSTEM, THE UNIVERSE IS INDIFFERENT”: MAD MEN AND THE PROBLEM OF MEANING 4 Pete, Peggy, Don, and the Dialectic of Remembering and Forgetting 53 John Fritz 5 The Existential Void of Roger Sterling 66 Raymond Angelo Belliotti 6 Egoless Egoists: The Second-Hand Lives of Mad Men 79 Robert White 7 An Existential Look at Mad Men: Don Draper, Advertising, and the Promise of Happiness 95 Ada S. Jaarsma PART THREE “AND YOU KNOW WHAT HAPPINESS IS?”: MAD MEN AND ETHICS 8 “In on It”: Honesty, Respect, and the Ethics of Advertising 113 Andreja Novakovic and Tyler Whitney 9 Creating the Need for the New: “It’s Not the Wheel. It’s the Carousel.” 126 George Teschner and Gabrielle Teschner 10 “You’re Looking in the Wrong Direction”: Mad Men and the Ethics of Advertising 141 Adam Barkman ftoc.indd vi 4/15/10 9:23:56 AM CONTENTS vii 11 Is Don Draper a Good Man? 154 Andrew Terjesen 12 Don Draper, on How to Make Oneself (Whole Again) 168 John Elia PART FOUR “NO ONE ELSE IS SAYING THE RIGHT THING ABOUT THIS”: MAD MEN AND SOCIAL PHILOSOPHY 13 “And Nobody Understands That, but You Do”: The Aristotelian Ideal of Friendship among the Mad Men (and Women) 189 Abigail E. Myers 14 Mad Women: Aristotle, Second-Wave Feminism, and the Women of Mad Men 203 Ashley Jihee Barkman 15 “We’ve Got Bigger Problems to Worry about Than TV, Okay?” Mad Men and Race 217 Rod Carveth 16 “New York City Is a Marvelous Machine”: Mad Men and the Power of Social Convention 228 James B. South APPENDIX: It’s Not a List of Titles and Air Dates; It’s an Episode Guide 243 CONTRIBUTORS: Some Real Mad Men and Women 247 INDEX: Client Files Lifted from Sterling Cooper 253 ftoc.indd vii 4/15/10 9:23:56 AM ftoc.indd viii 4/15/10 9:23:57 AM ACKNOWLEDGMENTS “ I Think We Need to Salute That! ” The work on this book required getting into character. Much whiskey, many martinis, and countless cigarettes were con- sumed in an effort to make the book an authentic companion to Mad Men. In the interest of research, liaisons were entered into, suits were worn, and hostile takeovers by other publishers were thwarted. Putting together a volume such as Mad Men and Philosophy requires a team of people working together — a team that deserves to be saluted for their efforts.
Recommended publications
  • The Cross-Country/Cross-Class Drives of Don Draper/Dick Whitman: Examining Mad Men’S Hobo Narrative
    Journal of Working-Class Studies Volume 2 Issue 1, 2017 Forsberg The Cross-Country/Cross-Class Drives of Don Draper/Dick Whitman: Examining Mad Men’s Hobo Narrative Jennifer Hagen Forsberg, Clemson University Abstract This article examines how the critically acclaimed television show Mad Men (2007- 2015) sells romanticized working-class representations to middle-class audiences, including contemporary cable subscribers. The television drama’s lead protagonist, Don Draper, exhibits class performatively in his assumed identity as a Madison Avenue ad executive, which is in constant conflict with his hobo-driven born identity of Dick Whitman. To fully examine Draper/Whitman’s cross-class tensions, I draw on the American literary form of the hobo narrative, which issues agency to the hobo figure but overlooks the material conditions of homelessness. I argue that the hobo narrative becomes a predominant but overlooked aspect of Mad Men’s period presentation, specifically one that is used as a technique for self-making and self- marketing white masculinity in twenty-first century U.S. cultural productions. Keywords Cross-class tensions; television; working-class representations The critically acclaimed television drama Mad Men (2007-2015) ended its seventh and final season in May 2015. The series covered the cultural and historical period of March 1960 to November 1970, and followed advertising executive Don Draper and his colleagues on Madison Avenue in New York City. As a text that shows the political dynamism of the mid-century to a twenty-first century audience, Mad Men has wide-ranging interpretations across critical camps. For example, in ‘Selling Nostalgia: Mad Men, Postmodernism and Neoliberalism,’ Deborah Tudor suggests that the show offers commitments to individualism through a ‘neoliberal discourse of style’ which stages provocative constructions of reality (2012, p.
    [Show full text]
  • Examining Mad Men's Hobo Narrative
    Journal of Working-Class Studies Volume 2 Issue 1, 2017 Forsberg The Cross-Country/Cross-Class Drives of Don Draper/Dick Whitman: Examining Mad Men’s Hobo Narrative Jennifer Hagen Forsberg, Clemson University Abstract This article examines how the critically acclaimed television show Mad Men (2007- 2015) sells romanticized working-class representations to middle-class audiences, including contemporary cable subscribers. The television drama’s lead protagonist, Don Draper, exhibits class performatively in his assumed identity as a Madison Avenue ad executive, which is in constant conflict with his hobo-driven born identity of Dick Whitman. To fully examine Draper/Whitman’s cross-class tensions, I draw on the American literary form of the hobo narrative, which issues agency to the hobo figure but overlooks the material conditions of homelessness. I argue that the hobo narrative becomes a predominant but overlooked aspect of Mad Men’s period presentation, specifically one that is used as a technique for self-making and self- marketing white masculinity in twenty-first century U.S. cultural productions. Keywords Cross-class tensions; television; working-class representations The critically acclaimed television drama Mad Men (2007-2015) ended its seventh and final season in May 2015. The series covered the cultural and historical period of March 1960 to November 1970, and followed advertising executive Don Draper and his colleagues on Madison Avenue in New York City. As a text that shows the political dynamism of the mid-century to a twenty-first century audience, Mad Men has wide-ranging interpretations across critical camps. For example, in ‘Selling Nostalgia: Mad Men, Postmodernism and Neoliberalism,’ Deborah Tudor suggests that the show offers commitments to individualism through a ‘neoliberal discourse of style’ which stages provocative constructions of reality (2012, p.
    [Show full text]
  • Women and Work in Mad Men Maria Korhon
    “You can’t be a man. Be a woman, it’s a powerful business when done correctly:” Women and Work in Mad Men Maria Korhonen Master’s Thesis English Philology Faculty of Humanities University of Oulu Spring 2016 Contents 1. Introduction ................................................................................................................................................... 3 1.1. History of Working Women .................................................................................................................... 5 2. Appearance .................................................................................................................................................. 10 2.1. Appearance bias ................................................................................................................................... 10 2.1.1 Weight ................................................................................................................................................ 12 2.1.2. Beauty ideals ..................................................................................................................................... 15 2.1.3. 1960s Work Attire ............................................................................................................................. 18 2.1.4. Clothing and external image in the workplace .................................................................................. 20 2.1.5. Gender and clothing .........................................................................................................................
    [Show full text]
  • Stoneback Thesis.Pdf
    “Women Usually Want to Please”: A Linguistic Analysis of Femininity and Power in Mad Men ​ by Stephanie Stoneback A thesis presented for the B.A. degree with Honors in The Department of English University of Michigan Winter 2019 © 2019 Stephanie Christine Stoneback To my mom. Acknowledgments First of all, I would like to thank my thesis advisor, Anne Curzan, for her unwavering support, guidance, and understanding throughout this process. Anne, without your encouragement, listening ear, criticism, and patience, I would have never been able to produce such exciting analysis that I am proud of. To me, you embody what it means to be a powerful woman and you are such an inspiration as I complete my undergraduate work and enter a new phase of life. Thank you so much for that. Next, I must thank our program director, Adela Pinch, for her helpful tips and constant reminders that everything was going to be okay. Adela, in many ways, you have shaped my education as an English major at the University of Michigan—you taught me the Introduction to Literary Studies course, a course on Jane Austen, and both semesters of Thesis Writing. Thank you so much for the years of engaged learning, critical thinking, and community building. I would also like to thank some of the staff members of the New England Literature Program, who helped instill in me a confidence in my writing and in my self that I never knew I was capable of. Aric Knuth, Ryan Babbitt, Mark Gindi, Maya West, and Kristin Gilger, each of you had a distinct and lasting impact on me, in some unspoken and perhaps sacred ways.
    [Show full text]
  • The Three Faces of Mad Men
    Cultural Studies Review volume 18 number 2 September 2012 http://epress.lib.uts.edu.au/journals/index.php/csrj/index pp. 151–68 Melissa Jane Hardie 2012 The Three Faces of Mad Men Middlebrow Culture and Quality Television MELISSA JANE HARDIE UNIVERSITY OF SYDNEY —THE REJUVENATOR An association between pleasure and the machine anchors the eleventh episode of Mad Men’s first season. Peggy Olsen is tasked with writing copy for a weight-loss contraption (the Rejuvenator) that she discovers operates more efficiently as a vibrator. A distant goal of reduction is supplanted by a more immediate satisfaction and amplification. Her slogan, ‘You’ll Love the Way It Makes You Feel’, alludes to the potential for pleasure the Rejuvenator holds, substituting feeling, and positive feelings at that, for the purported function of the device, streamlining the disciplinary regime of bodily reduction. The Rejuvenator models temporal reversion as the euphemistic pretext for self-pleasure: rejuvenation re-engineers a nostalgic version of the past as a future event. Within the parameters of a period drama this modelling has the collateral effect of demarcating Mad Men’s modus operandi as typically modernist, a utopian streamlining of history with incidental benefit for current pleasures. At the same time it offers a frame for the series itself as a form of nostalgic revision that pits ISSN 1837-8692 representations of the sluggish or reactionary past against its own modernising propaganda. It introduces feminine sexual pleasure as a metonym for the aesthetic, identifying another concern mid-century, the market dominance of certain kinds of women’s texts, and instating an allegory for the contemporary place of twenty-first century ‘quality’ television and shows like Mad Men as rejuvenated forms of the pleasing bestseller.
    [Show full text]
  • Reading List Collection of 25 Books Read by Characters Throughout the Series
    READING LIST COLLECTION OF 25 BOOKS READ BY CHARACTERS THROUGHOUT THE SERIES DON DRAPER’S PICKS EXODUS by Leon Uris THE CHRYSANTHEMUM AND ODDS AGAINST by Dick Francis (Episode 106 “Babylon”) THE SWORD by Ruth Benedict (Episode 509 “Dark Shadows”) (Episode 405 “The Chrysanthemum THE BEST OF EVERYTHING by Rona Jaffe THE INFERNO by Dante Alighieri and the Sword”) (Episode 106 “Babylon”) (Episode 601-2 “The Doorway”) THE SPY WHO CAME IN FROM MEDITATIONS IN AN EMERGENCY THE LAST PICTURE SHOW by John Le Carre by Frank O’Hara THE COLD by Larry McMurtry (Episode 413 “Tomorrowland”) (Episode 201 “For Those Who Think Young”) (Episode 607 “Man With a Plan”) THE FIXER by Bernard Malamud THE SOUND AND THE FURY by William PORTNOY’S COMPLAINT by Philip Roth (Episode 507 “At the Codfish Ball”) Faulkner (Episode 211 “The Jet Set”) (Episode 704 “The Monolith”) ROGER STERLING’S PICK JOAN HARRIS’S PICK BERT COOPER’S PICK CONFESSIONS OF AN ADVERTISING MAN LADY CHATTERLEY’S LOVER ATLAS SHRUGGED by David Ogilvy D. H. Lawrence by Ayn Rand (Episode 307 “Seven Twenty Three”) (Episode 103 "Marriage of Figaro") (Episode 108 “The Hobo Code”) SALLY DRAPER’S PICKS BETTY DRAPER’S PICKS PETE CAMPBELL’S PICKS THE HISTORY OF THE DECLINE BABYLON REVISITED AND OTHER THE CRYING OF LOT 49 AND FALL OF THE ROMAN EMPIRE STORIES by F. Scott Fitzgerald by Thomas Pynchon by Edward Gibbon (Episode 204 “Three Sundays”) (Episode 508 “Lady Lazarus”) (Episode 303 “My Old Kentucky Home”) GOODNIGHT MOON TWENTY ONE BALLOONS THE GROUP by Mary McCarthy by Margaret Wise Brown by William Pene
    [Show full text]
  • ENG 1131: Writing About American Prestige TV (Sec 4841)
    ENG 1131: Writing About American Prestige TV (sec 4841) Milt Moise MWF/R: Period 4: 10:40-11:30; E1-E3: 7:20-10:10 Classroom: WEIL 408E Office Hours: W, R Per. 7-8, or by appointment, TUR 4342 Course Website: CANVAS Instructor Email: [email protected] Twitter account: @milt_moise Course Description, Objectives, and Outcomes: This course examines the emergence of what is now called “prestige TV,” and the discourse surrounding it. Former FCC chairman Newton N. Minow, in a 1961 speech, once called TV “a vast wasteland” of violence, formulaic entertainment, and commercials. Television has come a long way since then, and critics such as Andy Greenwald now call our current moment of television production “the golden age of TV.” While television shows containing the elements Minow decried decades ago still exist, alongside them we now find television characterized by complex plots, moral ambiguity, excellent production value, and outstanding writing and acting performances. In this class, our discussions will center around, but not be limited to the aesthetics of prestige TV, and how AMC’s Mad Men and TBS’s Search Party conform to or subvert this framework. Students will learn to visually analyze a television show, and develop their critical reading and writing skills. By the end of the semester, students will be able to make substantiated arguments about the television show they have seen, and place it into greater social and historical context. They will also learn how to conduct formal research through the use of secondary sources and other relevant material to support their theses, analyses and arguments.
    [Show full text]
  • Gendered Identity and Fantasy in Mad Men
    PREVIOUSLY ON “You gotta let them know what kind of guy you are, then they’ll know what kind of girl to be”: Gendered Identity and Fantasy in Mad Men Sarah French Matthew Weiner’s television series Mad Men (2007-) provides a contemporary critique of the gender politics of 1960s middle-class America. Focusing on the theme of fantasy, this chapter argues that the series reveals femininity and masculinity to be highly constructed, performative and mimetic categories that adhere to the coordinates of patriarchal fantasy. The characters’ constructions of gendered identity are situated within a rigid patriarchal ideological framework that imposes severe limitations upon their subjectivities, as a result of which each of the protagonists are shown to be inherently damaged, unstable or lacking in agency. The role of fantasy is ultimately to conceal and overcome this inherent instability through the construction of stable yet fantasmatic identities. In the title sequence that opens each episode of Mad Men a series of visual motifs are used to express this central theme of fantasy. The sequence depicts a silhouetted man who stands in for the series’ protagonist Don Draper (Jon Hamm). As he enters his corporate office, the objects and furniture lose their solidity and begin to fall through the floor. The office itself then disappears and the silhouetted man falls with the other objects towards the ground, passing the skyscrapers with their billboard advertisements of wholesome family life and sexually objectified women. The advertisements appear as mimetic fragments, simulacra of a life-world constructed on ideological fantasies. The falling objects and silhouette point to the illusory and impermanent nature of the world of Mad Men and Don Draper’s similarly illusory role within this world.
    [Show full text]
  • THE CIRCUITRY of MEMORY: TIME and SPACE in MAD MEN by Molly Elizabeth Lewis B.A., Honours, the University of British Columbia, 2
    THE CIRCUITRY OF MEMORY: TIME AND SPACE IN MAD MEN by Molly Elizabeth Lewis B.A., Honours, The University of British Columbia, 2013 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Film Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) August 2015 © Molly Elizabeth Lewis, 2015 Abstract Memory is central to Mad Men (Matthew Weiner 2007-15) as a period piece set in the 1960s that activates the memories of its viewers while also depicting the subjective memory processes of its protagonist Donald Draper (Jon Hamm). Narratively, as much as Don may try to move forward and forget his past, he ultimately cannot because the memories will always remain. Utilizing the philosophy of Henri Bergson, I reveal that the series effectively renders Bergson’s notion of the coexistence of past and present in sequences that journey into the past without ever leaving the present. Mad Men ushers in a new era of philosophical television that is not just perceived, but also remembered. As a long-form serial narrative that intricately layers past upon present, Mad Men is itself an evolving memory that can be revisited by the viewer who gains new insight upon each viewing. Mad Men is the ideal intersection of Bergson’s philosophy of the mind and memory and Gilles Deleuze’s cinematic philosophy of time. The first chapter simply titled “Time,” examines the series’ first flashback sequence from the episode “Babylon,” in it finding the Deleuzian time- image. The last chapter “Space,” seeks to identify the spatial structure of the series as a whole and how it relates to its slow-burning pace.
    [Show full text]
  • The Business of Show Business for Creatives Film Business Essentials for Getting Your Film to Market
    The Business of Show Business for Creatives Film Business Essentials for Getting Your Film to Market Edited by Anne Marie Gillen Focal Press Has the Business Side of Show Business Covered Use discount code SHOW for 20% off Focal Press titles www.focalpress.com Business of Show Business 1 The Business of Show Business is proudly brought to you by Focal Press and AFM® In August 2013, the American Film Market® (AFM), the largest motion picture market in the world, signed a long-term agreement with Focal Press to collaborate on a series of books on the business of motion picture production and distribution. The series, entitled “American Film Market Presents” will include books on industry topics such as financing, distribution, pitching, law, and marketing. “Our goal is to provide the independent production community with resources and information that helps films get made,” stated Jonathan Wolf, AFM Managing Director. “Partnering the world’s largest film market with the leading publisher for filmmakers is a perfect match.” “It’s truly an honor to partner with the world’s premiere motion picture market, and we place enormous value in this relationship,” stated Jeff Dean, Focal Press Publisher. “AFM and Focal Press both strive to make a significant difference in the careers of filmmakers, producers, writers, and film -in dustry executives, and I’m certain the exceptional content we’ll create together will help us achieve this goal.” The Business of Show Business is a free resource intended to help educate and inform independent filmmakers
    [Show full text]
  • Race, Religion, and Rights: Otherness Gone Mad Tracy Lucht Iowa State University, [email protected]
    Journalism Publications Greenlee School of Journalism and Communication 2014 Race, Religion, and Rights: Otherness Gone Mad Tracy Lucht Iowa State University, [email protected] Follow this and additional works at: http://lib.dr.iastate.edu/jlmc_pubs Part of the Feminist, Gender, and Sexuality Studies Commons, Gender, Race, Sexuality, and Ethnicity in Communication Commons, History of Gender Commons, Journalism Studies Commons, Social History Commons, United States History Commons, and the Women's History Commons The ompc lete bibliographic information for this item can be found at http://lib.dr.iastate.edu/ jlmc_pubs/4. For information on how to cite this item, please visit http://lib.dr.iastate.edu/ howtocite.html. This Book Chapter is brought to you for free and open access by the Greenlee School of Journalism and Communication at Iowa State University Digital Repository. It has been accepted for inclusion in Journalism Publications by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. Race, Religion, and Rights: Otherness Gone Mad Abstract Inevitable yet often unnamed, the looming political radicalism of the late 1960s acts as something like a silent partner in the Mad Men narrative, relying on viewers' historical knowledge of the social tension outside Sterling Cooper to underscore the contrived nature of the world within it. Just as the series spans the period between the emergence of liberal and radical white feminist discourses, it also bridges key moments in the civil rights movement, from the boycotts, otv er registration drives, and sweeping oratory of the Rev. Martin Luther King, Jr., to the assassinations of civil rights leaders and activists; rioting in Watts nda other cities; and the emergence of a black power movement.
    [Show full text]
  • Remembering Through Retro TV and Cinema: Mad Men As Televisual Memorial to 60S America
    COPAS—Current Objectives of Postgraduate American Studies 15.1 (2014) Remembering through Retro TV and Cinema: Mad Men as Televisual Memorial to 60s America Debarchana Baruah ABSTRACT: This article examines ways in which some contemporary American television and cin- ema set in the 1950s and 1960s such as Pleasantville and Mad Men share a critical engagement with the period they represent. The engagement is throuGh the twin processes of identification and dissonance. The article describes this way of reviewinG the past as retro representation. The article further explores the idea of retros as televisual memorials for the present, as they con- tribute to preserving memories of the represented period. Mad Men is examined as such a tele- visual memorial of the 60s. KEYWORDS: Retro TV & Cinema, Cultural Memory, Mad Men, Televisual Memorial, Post-War America In America, the past two decades saw an unprecedented rise in television and cinema pro- ductions that are set in the past. Many of these cluster around the post-war period, particu- larly around the 1950s and 1960s. In this article, I explore reasons for revisitinG the period in television and cinema, and the contribution of these contemporary televisual representa- tions to rememberinG the period. In doing so, I use the concept of the retro1 to describe a particular way in which some contemporary American TV and cinema enGage with the post- war period, stokinG Generational anxiety surrounding this period in the present. I define ret- ro as a process of re-viewinG a past from the present, motivated less by nostalGia2 or senti- 1 EtymoloGically, “retro” has been used in EnGlish for more than five hundred years, and can be traced to the Latin preposition retro, which indicates “backwards” or “behind.” Perhaps “retrospect” is the most common word in this reGard and was first used ca.
    [Show full text]