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An Analysis of Hegemonic Social Structures in "Friends"
"I'LL BE THERE FOR YOU" IF YOU ARE JUST LIKE ME: AN ANALYSIS OF HEGEMONIC SOCIAL STRUCTURES IN "FRIENDS" Lisa Marie Marshall 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: Katherine A. Bradshaw, Advisor Audrey E. Ellenwood Graduate Faculty Representative James C. Foust Lynda Dee Dixon © 2007 Lisa Marshall All Rights Reserved iii ABSTRACT Katherine A. Bradshaw, Advisor The purpose of this dissertation is to analyze the dominant ideologies and hegemonic social constructs the television series Friends communicates in regard to friendship practices, gender roles, racial representations, and social class in order to suggest relationships between the series and social patterns in the broader culture. This dissertation describes the importance of studying television content and its relationship to media culture and social influence. The analysis included a quantitative content analysis of friendship maintenance, and a qualitative textual analysis of alternative families, gender, race, and class representations. The analysis found the characters displayed actions of selectivity, only accepting a small group of friends in their social circle based on friendship, gender, race, and social class distinctions as the six characters formed a culture that no one else was allowed to enter. iv ACKNOWLEDGMENTS This project stems from countless years of watching and appreciating television. When I was in college, a good friend told me about a series that featured six young people who discussed their lives over countless cups of coffee. Even though the series was in its seventh year at the time, I did not start to watch the show until that season. -
The One with the Feminist Critique: Revisiting Millennial Postfeminism With
The One with the Feminist Critique: Revisiting Millennial Postfeminism with Friends In the years that followed the completion of its initial broadcast run, which came to an end on 6th (S10 E17 and 18), iconicMay millennial with USthe sitcom airing ofFriends the tenth (NBC season 1994-2004) finale The generated Last One only a moderate amount of scholarly writing. Most of it tended to deal with the series st- principally-- appointment in terms of its viewing institutional of the kindcontext, that and was to prevalent discuss it in as 1990s an example television of mu culture.see TV This, of course, was prior to the widespread normalization of time-shifted viewing practices to which the online era has since given rise (Lotz 2007, 261-274; Curtin and Shattuc 2009, 49; Gillan 2011, 181). Friends was also the subject of a small number of pieces of scholarship that entriesinterrogated that emerged the shows in thenegotiation mid-2000s of theincluded cultural politics of gender. Some noteworthy discussion of its liberal feminist individualism, and, for what example, she argued Naomi toRocklers be the postfeminist depoliticization of the hollow feminist rhetoric that intermittently rose to der, and in its treatment of prominence in the shows hierarchy of discourses of gen thatwomens interrogated issues . issues Theand sameproblems year arising also saw from the some publication of the limitationsof work by inherentKelly Kessler to ies (2006). The same year also sawthe shows acknowledgement depiction and in treatmenta piece by offeminist queer femininittelevision scholars Janet McCabe and Kim Akass of the significance of Friends as a key text of postfeminist television culture (2006). -
Masculinities in the Television Series Friends
Masculinities in the television series ‘Friends’ A different kind of male friendship? A dissertation submitted to the University of Manchester for the degree of MA (Econ) in the Faculty of Economic and Social Studies Manchester, September 2000 by Vegard Iglebæk Women’s Studies Centre Department of Sociology Abstract This dissertation discusses friendships between men in the Northern American television series Friends and focuses upon two of the male characters, Joey Tribbiani and Chandler Bing. Friends shows six twenty-something men and women, sharing two flats in the middle of New York's Manhattan. Even though the series can be interpreted as conveying heterosexual values aimed towards a younger, mainstream audience, I argue that the relation between two of the men, being flatmates, is possibly representing different models of male friendships than usually seen in these kind of series. Personal disclosure and intimacy among heterosexual, Northern-European and American men tend to be restricted to specific arenas and situations, such as blissful moments at the football pitch or in situations of external crisis. Joey and Chandler's constant negotiating of degrees of intimacy is among the plots in the series. However, their relation stands out from the crowd compared to other series' narratives of relations between men. Joey and Chandler can be interpreted as widening the degree of acceptable personal disclosure, rather than being threatened by it. One might claim that they are opening up spaces for new ways of doing heterosexual masculinities, struggling to define modes of acceptable communication in their strictly heterosexual context. I am scrutinising a few scenes from selected episodes, discussing these issues from a sociological point of view, informed by cultural theory. -
Johnson Production Group Press Kit
Johnson Production Group Press Kit One-Liner When a struggling housewife poses as a potential buyer to help her boss close real estate transactions, she discovers her boss will do anything to close a deal - even murder. Synopsis Shelby Adams and her husband, Grant, struggled to get by. They had a hard time paying the rent on their house and keeping up with the bills in today’s economy. Something had to be done and Shelby was the one that took the initiative. Getting her real estate license, Shelby wanted to make money while Grant’s indecisions and insecurities caused friction between them. He had a low paying job and was resigned that it would be his lot in life. They were feeling the strain on their relationship. However, everything changed when Paulette entered their lives. Paulette was a successful realtor that claimed she saw something in Shelby that she admired. She offered Shelby a job to assist Paulette with her real estate ventures. It would be the opportunity Shelby had been waiting for. Yet Paulette’s business practices seemed unconventional. She had Shelby pretend to be potential buyer to pressure sales. She also had Shelby pretend to be expert on mold in order to claim there were no problems with a property. Shelby was wary but Paulette always had an answer. There was always an excuse. Paulette was good at manipulating people - including Shelby. After all, Paulette had a dream project she wanted to do and wanted Shelby to be part of it. Paulette had a financial backer and all she needed was time to put the deal together. -
8 TV Power Games: Friends and Law & Order
8 TV Power Games: Friends and Law & Order There is no such thing as a one-man show | at least not in television: one feature that all TV shows have in common is the combination of a large number of diverse contributors: producers, scriptwriters, actors, and so on. This is illustrated in Exhibit 8.1, which depicts the links between key contributors to the making and selling of a TV show. Solid lines repre- sent some form of contractual relationship, whereas dashed lines represent non-contractual relationships of relevance for value creation and value distribution. As is the case with movies, pharmaceutical drugs, and other products, the distribution of TV show values is very skewed: many TV shows are worth relatively little, whereas a few shows generate a very high value: For example, at its peak Emmy Award-winning drama ER fetched $13 million per episode.1 How does the value created by successful shows get divided among its various contrib- utors, in particular actors, producers and networks? Who gets the biggest slice of the big pie? In this chapter, I address this question by looking at two opposite extreme cases in terms of relative negotiation power: Law & Order and Friends. Law & Order | and profits The legal drama series Law & Order was first broadcast on NBC on September 13, 1990. (The pilot episode, produced in 1988, was intended for CBS, but the network rejected it, just as Fox did later, in both cases because the show did not feature any \breakout" characters.) By the time the last show aired on May 24, 2010, it was the longest-running crime drama on American prime time TV. -
Research Project Report 2 ... Final3.Pdf
Multimodal learning analytics on sustained attention by measuring ambient noise Jeffrey Pronk Responsible Professor: Marcus Specht (PhD) Supervisor: Yoon Lee (PhD candidate) Peer group members: Giuseppe Deininger (BSc student) Jurriaan Den Toonder (BSc student) Sven van der Voort (BSc student) I Abstract In this research, a learner’s sustained attention in the remote learning context will be studied by collecting data from different sensors. By combining the results of these sensors in a multi-modal analytics tool, the estimation of the learner’s sustained at- tention can hopefully be improved. This research will mainly focus on microphone recordings of ambient sound in a learners room. The main research question of this re- search was "How can ambient noise sensing aid in a multi-modal analytics tool to track sustained attention?". The multi-modal learning analytics tool, if accurate enough, could potentially be used by teachers to make their material more engaging and could help learner’s to keep their focus while performing a learning task (Schneider et al., 2015). The research resulted in a model with 61% accuracy. This percentage needs to be further researched, since because of the COVID situation, not enough data could be collected to train the model. Because of the relatively low accuracy of the model, it was found that ambient noise sensing can aid the multi-modal analytics tool to some extent by adding some data-points it is certain about, when the mobile movement tracking model does not detect a distraction. If the model improves in future research, the model could be able to help mobile movement tracking model, even if the mobile movement tracking model already predicts a distraction with bigger then 50% certainty. -
Sunday Morning Grid 6/28/15 Latimes.Com/Tv Times
SUNDAY MORNING GRID 6/28/15 LATIMES.COM/TV TIMES 7 am 7:30 8 am 8:30 9 am 9:30 10 am 10:30 11 am 11:30 12 pm 12:30 2 CBS CBS News Sunday Morning (N) Å Face the Nation (N) Paid Program PGA Tour Golf 4 NBC News (N) Å Meet the Press (N) Å News Paid Program Red Bull Signature Series From Las Vegas. Å 5 CW News (N) Å In Touch Hour Of Power Paid Program 7 ABC News (N) Å This Week News (N) News (N) News (N) Paid Vista L.A. Paid 9 KCAL News (N) Joel Osteen Hour Mike Webb Woodlands Paid Program 11 FOX In Touch Joel Osteen Fox News Sunday Midday Paid Program Golf U.S. Senior Open Championship, Final Round. 13 MyNet Paid Program Paid Program 18 KSCI Man Land Paid Church Faith Paid Program 22 KWHY Cosas Local Jesucristo Local Local Gebel Local Local Local Local RescueBot RescueBot 24 KVCR Painting Dowdle Joy of Paint Wyland’s Paint This Painting Kitchen Mexican Cooking BBQ Simply Ming Lidia 28 KCET Raggs Space Travel-Kids Biz Kid$ News Asia Insight BrainChange-Perlmutter 30 Days to a Younger Heart-Masley 30 ION Jeremiah Youssef In Touch Bucket-Dino Bucket-Dino Doki (TVY7) Doki (TVY7) Dive, Olly Dive, Olly The Bodyguard ›› (R) 34 KMEX Paid Conexión Paid Program Al Punto (N) Tras la Verdad República Deportiva (N) 40 KTBN Walk in the Win Walk Prince Carpenter Liberate In Touch PowerPoint It Is Written Pathway Super Kelinda Jesse 46 KFTR Paid Program Madison ›› (2001) Jim Caviezel, Jake Lloyd. -
Back to the Future Howard Shore:The Cell
Original Music Soundtracks for Motion Pictures and TV V OLUME 5 , N UMBER 9 / 1 0 Art-house Action page 45 09 > ALAN SILVESTRI: CAST AWAY PLUS: BACK TO THE FUTURE 7 252 74 9 3 7 0 4 2 $4.95 U.S. • $5.95 Canada HOWARD SHORE: THE CELL Two new scores by the legendary composer of The Mission and A Fistful Of Dollars. GAUMONT AND LEGenDE enTrePriSES PReSENT Also Available: The Mission Film Music Vol. I Film Music Vol. II MUSicic BYBY ENNIO MORRICONE a ROLAND JOFFÉ film IN STORES FEBRUARY 13 ©2001 Virgin Records America, Inc. v CONTENTS NOVEMBER/DECEMBER 2000 cover story departments 26 101 Great Film Scores on CD 2 Editorial Here at the end of the year, century, millennium, Counting the Votes. whatever—FSM sticks out its collective neck and selects the ultimate list of influential, significant 4 News and enjoyable soundtracks released on CD. Hoyt Curtin, 1922-2000; By Joe Sikoryak, with John Bender, Jeff Bond, Winter Awards Winners. Jason Comerford, Tim Curran, Jeff Eldridge, 5 Record Label Jonathan Z. Kaplan, Lukas Kendall Round-up & Chris Stavrakis What’s on the way. 6 Now Playing 33 21 Should’a Been Contenders Movies and CDs in release. Go back to Back to the Future for 41 Missing in Action 8 Concerts ’round-the-clock analysis. Live performances page 16 around the world. f e a t u r e s 9 Upcoming Assignments 14 To Score or Not To Score? Who’s writing what Composer Alan Silvestri found his music for whom. struggling for survival in the post-production of Cast Away. -
Keeping Tradition Afloat Tells of Fears, Heartache A.B
Signed: Manning reaches deal with Denver Broncos /B1 WEDNESDAY CITRUS COUNTY TODAY & Thursday morning HIGH Scattered afternoon 83 showers, partly cloudy LOW Thursday morning. 61 PAGE A4 www.chronicleonline.com MARCH 21, 2012 Florida’s Best Community Newspaper Serving Florida’s Best Community 50¢ VOLUME 117 ISSUE 227 INSIDE ROMNEY WINS: GOP primary Man accused of extorting teacher Voters in Illinois help Republican presidential promptly released disguised his voice what happened: race./Page A14 Authorities say Ohio man from jail on $10,000 on the phone. The teacher began an on- bond, sheriff ’s office She said the line Facebook friendship NATIONAL NEWS: spokeswoman teacher approached with a Colorado woman posed as Colorado woman while Heather Yates said. the sheriff ’s office who identified herself as Extortion is a on Feb. 13, saying Kristy Campbull. The online with local woman felony punishable by she was in an online friendship eventually led to up to 15 years in relationship with a an online relationship that teacher with bogus accusa- prison. James Colorado woman included the exchange of MIKE WRIGHT tions when she broke it off, The Chronicle is Barker and that the woman emails and photographs. Staff Writer authorities said. withholding the teacher’s was threatening her if the However, Yates said, the James Barker, 39, of the name because of the nature relationship ended. teacher was unaware that INVERNESS — An Ohio Toledo suburb of Swanton, of the charges. Yates said the teacher did Campbull did not exist — at man is charged with posing was arrested March 8 by Yates said the teacher not know until recently that least not by that name. -
Disease As Drama: Dramatistic Constructs and Modes Of
DISEASE AS DRAMA: DRAMATISTIC CONSTRUCTS AND MODES OF REDEMPTION IN COVERING ILLNESS IN GLAMOUR MAGAZINE A Thesis presented to the Faculty of the Graduate School University of Missouri-Columbia In Partial Fulfillment Of the Requirements for the Degree Master of Arts by EKATERINA PESHEVA Margaret Duffy, Ph.D., Thesis Supervisor DECEMBER, 2005 To my mom Acknowledgements I want to thank the following people for their support: Margaret Duffy, PhD Ivan Vassilev Becky Woelfel i i Table of Contents: Chapter I: I-A. Kenneth Burke’s Dramatism……………………………………1-6 I-B. Burke: Modes of Application in Previous Research…………….6-10 I-C. How Disease and Health Have Been Studied to Date…………..10-26 I-D. Dramatistic Analysis of Disease…………………………………26-28 Chapter II: II-A. Research Question………………………………………………29 II-B. So What? (Medium and Sample)................................................29-33 Chapter III: III-A. Why Dramatism?.........................................................................34 III-B. Elements of Dramatism…………………………………………35-41 III-C. Methodological Recipe for Current Study……………………....42 Chapter IV: IV-A. Detailed Analyses……………………………………………….43-99 Chapter V: V-A. Discussion and Implications…………………………………….100-109 Chapter VI: VI-A. Recommendations for Further Research……………………….110-111 VI-B. Limitations………………………………………………………111-112 VI-C. Bibliography……………………………………………………..112-120 VI-D. Vita……………………………………………………………….121 ii i Chapter I I-A. Kenneth Burke’s Dramatism English writer Walter Pater once observed that theatre is “mass with secular vestments.” (King, 2001, p. 35) Kenneth Burke, the godfather of dramatism, would have argued that most forms of human rhetoric are mass in secular vestments. But just how is rhetoric related to religion? Burke says that most, if not all, forms of human communication can be traced back to basic religious metaphors. -
Take a Look Temperatures in the Mld-70S
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Episode 1 Œ Season 1 the ONE WHERE MONICA GETS a NEW ROOMMATE (THE PILOT) (SCENE 1: CENTRAL PERK. ALL PRESENT EXCEPT RACHEL
Episode 1 – season 1 THE ONE WHERE MONICA GETS A NEW ROOMMATE (THE PILOT) (SCENE 1: CENTRAL PERK. ALL PRESENT EXCEPT RACHEL AND ROSS) Monica: There's nothing to tell! He's just some guy I work with! Joey: C'mon, you're going out with the guy! There's gotta be something wrong with him! Chandler: So does he have a hump? A hump and a hairpiece? Phoebe: Wait, does he eat chalk? (THE OTHERS STARE, BEMUSED) Phoebe: Just, 'cause, I don't want her to go through what I went through with Carl- oh! Monica: Okay, everybody relax. This is not even a date. It's just two people going out to dinner and- not having sex. Chandler: Sounds like a date to me. (CUT TO SAME SET) Chandler: Alright, so I'm back in high school, I'm standing in the middle of the cafeteria, and I realise I am totally naked. All: Oh, yeah. Had that dream. Chandler: Then I look down, and I realise there's a phone... there. Joey: Instead of...? Chandler: That's right. Joey: Never had that dream. Phoebe: No. Chandler: all of a sudden, the phone starts to ring. And it turns out it's my mother, which is very weird, because- she never calls me! (CUT TO SAME SET. ROSS HAS NOW ENTERED) Ross: (MORTIFIED) Hi. Joey: This guy says hello, I wanna kill myself. Monica: Are you okay, sweetie? Ross: I just feel like someone reached down my throat, grabbed my small intestine, pulled it out of my mouth and tied it around my neck..