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Multicultural Social Cohesion in Veronica Mars
University of Wollongong Research Online Faculty of Law, Humanities and the Arts - Papers Faculty of Arts, Social Sciences & Humanities 2007 Over my dead body: Multicultural social cohesion in Veronica Mars Debra Dudek University of Wollongong, [email protected] Follow this and additional works at: https://ro.uow.edu.au/lhapapers Part of the Arts and Humanities Commons, and the Law Commons Recommended Citation Dudek, Debra, "Over my dead body: Multicultural social cohesion in Veronica Mars" (2007). Faculty of Law, Humanities and the Arts - Papers. 1392. https://ro.uow.edu.au/lhapapers/1392 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Over my dead body: Multicultural social cohesion in Veronica Mars Abstract This paper argues that Veronica Mars foregrounds the notion that multiculturalism is a "field of accumulating whiteness," to borrow Ghassan Hage's phrase, and that multicultural cohesion exists primarily when Brown and Black bodies gain cultural and symbolic capital by accumulating Whiteness. Keywords mars, over, cohesion, veronica, social, body, multicultural, my, dead Disciplines Arts and Humanities | Law Publication Details Dudek, D. (2007). Over my dead body: Multicultural social cohesion in Veronica Mars. The Looking Glass: new perspectives in children's literature, 11 (1). This journal article is available at Research Online: https://ro.uow.edu.au/lhapapers/1392 Over My Dead Body: Multicultural Social Cohesion in Veronica Mars | D... http://www.lib.latrobe.edu.au/ojs/index.php/tlg/article/view/46/23 The Looking Glass : New Perspectives on Children's Literature, Vol 11, No 1 (2007) HOME ABOUT LOG IN REGISTER SEARCH CURRENT ARCHIVES ANNOUNCEMENTS Home > Vol 11, No 1 (2007) > Dudek Font Size: Over My Dead Body: Multicultural Social Cohesion in Veronica Mars Debra Dudek Debra Dudek received her PhD in literature from the University of Saskatchewan, Canada. -
The Community-Centered Cult Television Heroine, 1995-2007
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Dissertations, Theses, and Student Research: Department of English English, Department of 2010 "Just a Girl": The Community-Centered Cult Television Heroine, 1995-2007 Tamy Burnett University of Nebraska at Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/englishdiss Part of the Feminist, Gender, and Sexuality Studies Commons, Literature in English, North America Commons, and the Visual Studies Commons Burnett, Tamy, ""Just a Girl": The Community-Centered Cult Television Heroine, 1995-2007" (2010). Dissertations, Theses, and Student Research: Department of English. 27. https://digitalcommons.unl.edu/englishdiss/27 This Article is brought to you for free and open access by the English, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Dissertations, Theses, and Student Research: Department of English by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. “JUST A GIRL”: THE COMMUNITY-CENTERED CULT TELEVISION HEROINE, 1995-2007 by Tamy Burnett A DISSERTATION Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Doctor of Philosophy Major: English (Specialization: Women‟s and Gender Studies) Under the Supervision of Professor Kwakiutl L. Dreher Lincoln, Nebraska May, 2010 “JUST A GIRL”: THE COMMUNITY-CENTERED CULT TELEVISION HEROINE, 1995-2007 Tamy Burnett, Ph.D. University of Nebraska, 2010 Adviser: Kwakiutl L. Dreher Found in the most recent group of cult heroines on television, community- centered cult heroines share two key characteristics. The first is their youth and the related coming-of-age narratives that result. -
Investigating Veronica Mars the Noir and Teen Clash in Neptune, California
Investigating Veronica Mars The Noir and Teen Clash in Neptune, California by Kim Johansen Østby Master’s Thesis in Media Studies Department of Media and Communication University of Oslo Spring 2010 “[…] why is Veronica Mars so good? It bears little resemblance to life as I know it, but I can't take my eyes off the damn thing.” (Stephen King, Entertainment Weekly, 01/02-2007) I Abstract What happens when you combine the long tradition of film noir and the contemporary television teen drama? Through genre analysis, this thesis explores how the television show Veronica Mars (2004-2007) mixes noir and teen drama and how this creates a dark vision of society and teen life. Through four chapters I investigate key points of the show, such as the narration and aesthetics, the representation of the noir universe through the show’s depiction of social class inequalities and an incapacitated criminal justice system, the show’s exploration of teen drama themes and how this is affected by noir and finally, an analysis of the main characters and how they relate to this hybrid universe. Noir and teen elements pulsate throughout the entire show. Together they create a tense, paranoid and mysterious atmosphere and allow the show to repeatedly explore dark themes and plots that do not commonly appear in teen dramas. The teen private investigator protagonist Veronica must tackle mysteries ranging everywhere from disappearances, blackmail, scams and theft, to situations where she must deceive the FBI, confront and battle a serial rapist and solve the mass murder of her fellow classmates, all while making her way through high school and college. -
William Irwin
1 Getting Past the Velvet Ropes Status Anxiety in Neptune William Irwin If a visitor from a long time ago or from a culture far, far away dropped into Neptune, that visitor would be amazed by the great wealth not just of the Kanes, Echolls, and Casablancas, but also of the Navarros, Mars, and Fennels. They all have more than enough to eat, plenty of clothes, climate-controlled dwelling places with indoor plumbing, and cars and motorcycles to take them wherever they want to go. But it wouldn’t take our visitor long to see that, despite the incredible base level of wealth, not everyone is considered the same. There are differences in status, in one’s standing in society. Some are at the top, some are at the bottom, and, despite Veronica’s description of Neptune as “a town without a middle class,” some are in the middle. These differences would likely seem silly to our visitor, who would consider all the Neptunians wildly wealthy. After just a little time in town, though, our visitor would be able to identify the problem plaguing Neptune: status anxiety. Everyone is wor- ried about where he or she fits on the hierarchy of standing and importance. Our visitor wouldn’t necessarily have to be human to grasp theCOPYRIGHTED importance of status. Some MATERIAL lower primates sort themselves, with alpha males beating their chests, feeding first, and Veronica Mars and Philosophy: Investigating the Mysteries of Life (Which is a Bitch Until You Die), First Edition. Edited by George A. Dunn. © 2014 John Wiley & Sons, Inc. -
Moniek Van Der Kallen. 0209082
Moniek van der Kallen Master thesis Film and Television Sciences Utrecht Tutor: Ansje van Beusekom Second reader: Rob Leurs Reader with English as first language: Andy McKenzie How to end the season of a formulaic series. A comparative analysis of the series HOUSE MD and VERONICA MARS about the recurring conflict in the narrative lines of television series’ season finales: resolution versus continuity. TABLE OF CONTENTS ABSTRACT.…………………………....………………………..…..1 KEYWORDS………………………………………………………...1 INTRODUCTION.……………………..………………………..…..2 METHOD ……………………………………..…………………......4 Story levels ……………..………….…………………………………………...….4 The WOW-method………………………….…………………………..……….…5 The story steps of the Ruven & Batavier Schedule ……………………………….6 THEORY: SERIES, SERIALS AND SOAP OPERAS …………..8 THE CHARACTERISTICS OF SOAP OPERAS ………….....…………...…………....14 Narrative subjects ………………………………………………..……..………...14 Narrative structures ….............……………………………………..…………….15 The organization of time ........................................................................................16 1. NARRATIVE STRATEGIES IN HOUSE MD ...…………..…19 EPISODE 1.01 PILOT. Building expectations for the series ..........................................19 Characteristics of a pilot of a series. Introducing the characters, creating expectations…………………………………..………………..……......19 Story endings…..…………………………………..……………………….…....24 Promises for future conflict……….………………..…………………………….26 EPISODE 1.22 THE HONEYMOON. Starting new narratives instead of ending them..27 Introduction a new romantic narrative, -
Downloaded More Than 212,000 Times Since the Ipad's April 3Rd Launch,” the Futon Critic, 14 Apr
Distribution Agreement In presenting this thesis or dissertation as a partial fulfillment of the requirements for an advanced degree from Emory University, I hereby grant to Emory University and its agents the non-exclusive license to archive, make accessible, and display my thesis or dissertation in whole or in part in all forms of media, now or hereafter known, including display on the world wide web. I understand that I may select some access restrictions as part of the online submission of this thesis or dissertation. I retain all ownership rights to the copyright of the thesis or dissertation. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. Signature _____________________________ ______________ Nicholas Bestor Date TV to Talk About: The CW and Post-Network Television By Nicholas Bestor Master of Arts Film Studies Michele Schreiber, Ph.D. Advisor Eddy Von Mueller, Ph.D. Committee Member Karla Oeler, Ph.D. Committee Member Accepted: Lisa A. Tedesco, Ph.D. Dean of the James T. Laney School of Graduate Studies ___________________ Date TV to Talk About: The CW and Post-Network Television By Nicholas Bestor B.A., Middlebury College, 2005 Advisor: Michele Schreiber, Ph.D. An abstract of A thesis submitted to the Faculty of the James T. Laney School of Graduate Studies of Emory University in partial fulfillment of the requirements for the degree of Master of Arts in Film Studies 2012 Abstract TV to Talk About: The CW and Post-Network Television By Nicholas Bestor The CW is the smallest of the American broadcast networks, but it has made the most of its marginal position by committing itself wholly to servicing a niche demographic. -
Girls Made Of? the Discourse of Girl Power in Contemporary U.S
WHAT ARE LITTLE (EMPOWERED) GIRLS MADE OF? THE DISCOURSE OF GIRL POWER IN CONTEMPORARY U.S. POPULAR CULTURE Rosalind Sibielski 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 2010 Committee: Ellen Berry, Advisor Lesa Lockford, Graduate Faculty Representative Cynthia Baron Kimberly Coates © 2010 Rosalind Sibielski All Rights Reserved iii ABSTRACT Ellen Berry, Advisor Beginning in the late 1990s, U.S. popular culture has been inundated with messages promoting “girl power.” This dissertation examines representations of girl power in the mass media, as well as popular literature and advertising images, in order to interrogate the ways in which the discourse of girl power has shaped cultural understandings of girlhood in the past twenty years. It also examines the ways in which that discourse has functioned as both an extension of and a response to social concerns about the safety, health and emotional well-being of girls in the United States at the turn of the millennium. Girl power popular culture texts are often discussed by commentators, fans and their creators as attempts to use media narratives and images to empower girls, either by providing them with models for how to enact empowered femininity or by providing them with positive representations that make them feel good about themselves as girls. However, this project is arguably limited by the focus in girl power texts on girls’ individual (as opposed to their structural) empowerment, as well as the failure of these texts to conceive of the exercise of power outside of patriarchal models. -
DOWNLOAD Studies 40-1 Fall 2017
STUDIES IN POPULAR CULTURE STUDIES IN POPULAR CULTURE 40.1 FALL 2017 40.1 FALL IN POPULAR CULTURE STUDIES Fall 2017 40.1 v From the Editor Lynnette Porter STUDIES 1 “No But”—Understanding Sally Jenkins’ Friction with Feminism Steve Master and Taylor Joy Mitchell IN 31 Buffy the Vampire Slayer: Technology, Mysticism, and the Constructed Body Sara Raffel POPULAR 53 Robin Hood Goes to Neptune: The Collective Social Bandit in Veronica Mars Melissa Sartore CULTURE 78 The American Western Mythology of Breaking Bad Paula Brown 102 Shifting Gears and Paradigms at the Movies: Masculinity, Automobility, and the Rhetorical Dimensions of Mad Max: Fury Road Darin Payne 136 Book Reviews 40.1 FALL 2017 STUDIES IN POPULAR CULTURE Studies in Popular Culture gratefully acknowledges the generous Studies in Popular Culture, a journal of the Popular Culture Association in the South, publishes articles on popular culture however mediated through film, lit- support of erature, radio, television, music, graphics, print, practices, associations, events— any of the material or conceptual conditions of life. Its contributors from the United States, Australia, Canada, China, England, Finland, France, Ireland, Is- The Humanities and Communication Department, rael, Italy, Scotland, Spain, and the Turkish Republic of North Cyprus include Embry-Riddle Aeronautical University, distinguished anthropologists, sociologists, psychologists, cultural geographers, ethnomusicologists, historians, and scholars in comics, communications, film, games, graphics, literature, philosophy, religion, and television. Dr. Sally Blomstrom, Chair Direct editorial queries and submissions by email to editor Lynnette Porter, [email protected]; mailing address: Humanities and Communication Depart- and ment, Embry-Riddle Aeronautical University, 600 South Clyde Morris Boule- vard, Daytona Beach, Florida 32114. -
Guide to the Veronica Mars Production Files PA Mss 143
http://oac.cdlib.org/findaid/ark:/13030/c8445t2v No online items Guide to the Veronica Mars production files PA Mss 143 Collection processed and arranged by Hannah Garibaldi, 2018. Finding aid prepared by Hannah Garibaldi and Zachary Liebhaber, 2018. UC Santa Barbara Library, Department of Special Research Collections University of California, Santa Barbara Santa Barbara 93106-9010 [email protected] URL: http://www.library.ucsb.edu/special-collections 2018 October 23 Guide to the Veronica Mars PA Mss 143 1 production files PA Mss 143 Title: Veronica Mars production files Identifier/Call Number: PA Mss 143 Contributing Institution: UC Santa Barbara Library, Department of Special Research Collections Language of Material: English Physical Description: 13 linear feet(11 cartons, 1 document box, 1 flat oversize box) Date (inclusive): circa 2004-2007 Abstract: This collection includes materials from the television series Veronica Mars. It contains production documents from each episode, administrative and financial records from the series, a banner taken from the set, as well as audiovisual media utilized during the series' production. Physical Location: A portion of the collection is located at the Southern Regional Library Facility (SRLF). Access Restrictions The collection is open for research. A portion of the collection is stored offsite. Advance notice is required for retrieval. Audiovisual materials have not been processed and are not available for research at this time. Use Restrictions Copyright has not been assigned to the Department of Special Research Collections, UCSB. All requests for permission to publish or quote from manuscripts must be submitted in writing to the Head of Special Research Collections. -
These Girls Are Alright
These girls are alright By Rachel Montpelier Gender stereotypes seem less and less pervasive with these young women around. How the past two decades have seen a rise in the Outside Girl. Who are the “Outside Girls”? The Outside Girls do not need—or, some- times, even want—people to like them. The This character trope has appeared in litera- fact that they are unlike anyone else only ture and popular culture throughout history, adds to their self-esteem. Their appear- but has become a much more frequent ances are not their top priorities. Boyfriends occurrence since the ‘90s. The Outside Girl and girlfriends come and go, but none of is a character (usually in her late teens or these women are defined by their romances early twenties) who is unable to relate to or a desire for love. That being said, these her peers and actively withdraws from them. women are allowed to be sexually agentic She is intelligent, independent and funny. without warranting the viewer’s judgment. Yet she cannot or will not fit in. In fact, her Basically, the Outside Girl is who she is and isolation is twofold: she is different from accepts that. And, as a result, we accept everyone else in her universe, but she is her. also an anomaly amongst the usual female characters. Characters fitting this description include: This trope started centuries ago—think Miss ♦ Daria Morgendorffer of Daria Bennett rejecting Mr. Darcy’s initial proposal ♦ Juno MacGuff of Juno or Edna Pontellier walking away from her marriage and children for the potential joy ♦ Jessica Darling of Sloppy Firsts, Second in solitude—but has repeatedly pervaded Helpings, etc. -
Pilot Earth Skills Earth Kills Murphy's Law Twilight's Last Gleaming His Sister's Keeper Contents Under Pressure Day Trip Unity
Pilot Earth Skills Earth Kills Murphy's Law Twilight's Last Gleaming His Sister's Keeper Contents Under Pressure Day Trip Unity Day I Am Become Death The Calm We Are Grounders Pilot Murmurations The Dead Don't Stay Dead Hero Complex A Crowd Of Demons Diabolic Downward Spiral What Ever Happened To Baby Jane Hypnos The Comfort Of Death Sins Of The Fathers The Elysian Fields Lazarus Pilot The New And Improved Carl Morrissey Becoming Trial By Fire White Light Wake-Up Call Voices Carry Weight Of The World Suffer The Children As Fate Would Have It Life Interrupted Carrier Rebirth Hidden Lockdown The Fifth Page Mommy's Bosses The New World Being Tom Baldwin Gone Graduation Day The Home Front Blink The Ballad Of Kevin And Tess The Starzl Mutation The Gospel According To Collier Terrible Swift Sword Fifty-Fifty The Wrath Of Graham Fear Itself Audrey Parker's Come And Gone The Truth And Nothing But The Truth Try The Pie The Marked Till We Have Built Jerusalem No Exit Daddy's Little Girl One Of Us Ghost In The Machine Tiny Machines The Great Leap Forward Now Is Not The End Bridge And Tunnel Time And Tide The Blitzkrieg Button The Iron Ceiling A Sin To Err Snafu Valediction The Lady In The Lake A View In The Dark Better Angels Smoke And Mirrors The Atomic Job Life Of The Party Monsters The Edge Of Mystery A Little Song And Dance Hollywood Ending Assembling A Universe Pilot 0-8-4 The Asset Eye Spy Girl In The Flower Dress FZZT The Hub The Well Repairs The Bridge The Magical Place Seeds TRACKS TAHITI Yes Men End Of The Beginning Turn, Turn, Turn Providence The Only Light In The Darkness Nothing Personal Ragtag Beginning Of The End Shadows Heavy Is The Head Making Friends And Influencing People Face My Enemy A Hen In The Wolf House A Fractured House The Writing On The Wall The Things We Bury Ye Who Enter Here What They Become Aftershocks Who You Really Are One Of Us Love In The Time Of Hydra One Door Closes Afterlife Melinda Frenemy Of My Enemy The Dirty Half Dozen Scars SOS Laws Of Nature Purpose In The Machine A Wanted (Inhu)man Devils You Know 4,722 Hours Among Us Hide..