The Analysis of Transition in Woman Social Status—Comparing Cinderella with Ugly Betty
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Building Community by Producing Honk! Jr., a Musical Based on the Glu Y Duckling Heidi Louise Jensen
University of Northern Colorado Scholarship & Creative Works @ Digital UNC Theses Student Research 5-1-2013 Two hundred year old lesson in bullying: building community by producing Honk! Jr., a musical based on The glU y Duckling Heidi Louise Jensen Follow this and additional works at: http://digscholarship.unco.edu/theses Recommended Citation Jensen, Heidi Louise, "Two hundred year old lesson in bullying: building community by producing Honk! Jr., a musical based on The Ugly Duckling" (2013). Theses. Paper 38. This Text is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Theses by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. © 2013 HEIDI LOUISE JENSEN ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School A TWO HUNDRED YEAR OLD LESSON IN BULLYING: BUILDING COMMUNITY BY PRODUCING HONK! JR., A MUSICAL BASED ON “THE UGLY DUCKLING” A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts Heidi Louise Jensen College of Performing and Visual Arts School of Theatre Arts and Dance Theatre Education May 2013 This Thesis by: Heidi Louise Jensen Entitled: A Two Hundred Year Old Lesson in Bullying: Building Community by Producing HONK! Jr., A Musical Based on “The Ugly Duckling”. has been approved as meeting the requirement for the Degree of Master of Arts in College of Performing and Visual Arts in School of Theatre and Dance, Program of Theatre Educator Intensive Accepted by the Thesis Committee _______________________________________________________ Gillian McNally, Associate Professor, M.F.A., Chair, Advisor _______________________________________________________ Mary J. -
By Jennifer M. Fogel a Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy
A MODERN FAMILY: THE PERFORMANCE OF “FAMILY” AND FAMILIALISM IN CONTEMPORARY TELEVISION SERIES by Jennifer M. Fogel A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Communication) in The University of Michigan 2012 Doctoral Committee: Associate Professor Amanda D. Lotz, Chair Professor Susan J. Douglas Professor Regina Morantz-Sanchez Associate Professor Bambi L. Haggins, Arizona State University © Jennifer M. Fogel 2012 ACKNOWLEDGEMENTS I owe my deepest gratitude to the members of my dissertation committee – Dr. Susan J. Douglas, Dr. Bambi L. Haggins, and Dr. Regina Morantz-Sanchez, who each contributed their time, expertise, encouragement, and comments throughout this entire process. These women who have mentored and guided me for a number of years have my utmost respect for the work they continue to contribute to our field. I owe my deepest gratitude to my advisor Dr. Amanda D. Lotz, who patiently refused to accept anything but my best work, motivated me to be a better teacher and academic, praised my successes, and will forever remain a friend and mentor. Without her constructive criticism, brainstorming sessions, and matching appreciation for good television, I would have been lost to the wolves of academia. One does not make a journey like this alone, and it would be remiss of me not to express my humble thanks to my parents and sister, without whom seven long and lonely years would not have passed by so quickly. They were both my inspiration and staunchest supporters. Without their tireless encouragement, laughter, and nurturing this dissertation would not have been possible. -
'Perfect Fit': Industrial Strategies, Textual Negotiations and Celebrity
‘Perfect Fit’: Industrial Strategies, Textual Negotiations and Celebrity Culture in Fashion Television Helen Warner Submitted for the degree of Doctor of Philosophy (PhD) University of East Anglia School of Film and Television Studies Submitted July 2010 ©This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that no quotation from the thesis, nor any information derived therefrom, may be published without the author's prior, written consent. Helen Warner P a g e | 2 ABSTRACT According to the head of the American Costume Designers‟ Guild, Deborah Nadoolman Landis, fashion is emphatically „not costume‟. However, if this is the case, how do we approach costume in a television show like Sex and the City (1998-2004), which we know (via press articles and various other extra-textual materials) to be comprised of designer clothes? Once onscreen, are the clothes in Sex and the City to be interpreted as „costume‟, rather than „fashion‟? To be sure, it is important to tease out precise definitions of key terms, but to position fashion as the antithesis of costume is reductive. Landis‟ claim is based on the assumption that the purpose of costume is to tell a story. She thereby neglects to acknowledge that the audience may read certain costumes as fashion - which exists in a framework of discourses that can be located beyond the text. This is particularly relevant with regard to contemporary US television which, according to press reports, has witnessed an emergence of „fashion programming‟ - fictional programming with a narrative focus on fashion. -
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. -
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. -
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. -
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. -
“New Women” in the Postfeminist Age in 1982, the New York Times
1 Chapter I New “New Women” in the Postfeminist Age In 1982, the New York Times Magazine‟s cover story “Voices from the Post-Feminist Generation” written by Susan Bolotin introduced the term “postfeminism” for the first time. As Bolotin reported, the young women interviewed in the article refused to identify themselves as feminists, whom they deemed as upset, embittered and men-hating women. Bolotin concluded that the new generation‟s rejection of feminist theory marked the arrival of postfeminism. Since then, myriad discussions of this emerging concept and its relationship with feminism have been thriving in the arena of both academic studies and popular culture. In spite of frequently impassioned debates over what exactly constitutes postfeminism, this fundamental question has not yet been fully answered. As the term “postfeminism” originated from within the media and the postfeminist phenomenon maintains its cultural presence through the media, its language has become a pronounced feature of popular culture, especially for the past 15 years.1 Indeed, postfeminist sentiment has been pervasive in the mass media throughout the late 1990s to the 1 See Sarah Gamble, “Postfeminism,” in Sarah Gamble, ed., The Routledge Companion to Feminism and Postfeminism (New York: Routledge, 2001) 52. Also, Yvonne Tasker and Diane Negra, “Introduction: Feminist Politics and Postfeminist Culture” in Yvonne Tasker and Diane Negra, ed., Interrogating Postfeminism: Gender and the Politics of Popular Culture (Durham, NC: Duke UP, 2007) 11. Diane Negra in her book What a Girl Wants: Fantasizing the Reclamation of Self in Postfeminism (New York: Routledge, 2009) reiterates the same statement. 2,5. -
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. -
But, Can He Act? See If Ashton Kutcher Gets Debunk’D in Our Review of the Guardian by Peter Sobczynski
MOVIE TIMES | INTERVIEWS | REVIEWS | CROSSWORD & GAMES We talk to Christian Volckman, Ugly whose new film just like you: Renaissance America Ferrera isn’t nearly stars in the as animated new TV show as you might Ugly Betty have heard… produced by none other than Ms. Salma Hayek But, can he act? See if Ashton Kutcher gets Debunk’d in our review of The Guardian by Peter Sobczynski We Are Scientists experiment with new sounds, new tours, new albums, and… Gila monsters?! See what frontman Keith Murray has to say about all this nonsense || SEPTEMBER 29-OCTOBER 5, 2006 ENTERTAINMENT TODAY a “Sensational!” WMK Productions, Inc. Presents —Chicago Tribune “A joyous celebration Three Mo’ Tenors that blows the roof off the house!” Fri.–Sat., Oct. 6–7, 8 pm —Boston Herald Three Mo’ Tenors, the highly acclaimed music sensation, returns to the Cerritos Center for the Performing Arts. This talented trio of African-American opera singers belts out Broadway’s best, and performs heaven-sent Gospel music in a concert event for the entire family. Tickets: $63/$50/$42 Friday $67/$55/$45 Saturday Conceived and Directed by Marion J. Caffey Call (562) 467-8804 today to reserve your seats or go on-line to www.cerritoscenter.com. The Center is located directly off the 91 freeway, 20 minutes east of downtown Long Beach, 15 minutes west of Anaheim, and 30 minutes southeast of downtown Los Angeles. Parking is free. Your Favorite Entertainers, Your Favorite Theater . || ENTERTAINMENT TODAY SEPTEMBER 29-OCTOBER 5, 2006 ENTERTAINMENTVOL. 38|NO. 51|SEPTEMBER 29-OCTOBER 5, 2006 TODAYINCE S 1967 PUBLISHER KRIS CHIN MANAGING EDITOR CECILIA TSAI EDITOR MATHEW KLICKSTEIN PRODUCTION DAVID TAGARDA GRAPHICS CONSULTANT AMAZING GRAPHICS TECHNICAL SUPERVISOR KATSUYUKI UENO WRITERS JESSE ALBA JOHN BARILONE FRANK BARRON KATE E. -
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. -
The Betty Newsletter
STUDENT ASSOCIATION OF FAMILY AND CONSUMER SCIENCES APRIL 29, 2009 Thethe Betty Newsletter edition BETTY Issue #28 All Betty all the time As my reign of editor comes to a close, I have been inspired A dictionary numerous times by the this newsletter. I have gotten my family involved definition: and my friends have heard endless hours of my bragging and Betty: a feminine name, complaining of this publication. My father has edited articles and my diminutive of Elizabeth best friend even contributed to this issue even though she goes to school Betty, slang: hot chick in Washington, DC. I have named my hamster Betty. I am addicted. Betty, Clueless movie: Every time I have come across a ‘betty’, I have written it down. Once beautiful girl I got to two, I brought my idea of a Betty themed Betty to Professor betty, n: Matthews and she leapt at the thought. My father TiVo’d a cooking show a short bar used by which sparked our Apple Brown Betty article and a new dessert for the thieves to wrench doors family to try. Our search has come to its peak, with open this, our largest issue yet. a pear shaped bottle Please enjoy this Betty as it has taken the covered with a round contributors days and months to put together. straw Take note that there are endless amounts of famous Bettys, dozens contributing to the vast Other Famous world of Family and Consumer Sciences. Be Betties: inspired as this newsletter has inspired me. Ugly Betty, TV show ~Valerie Yu, editor Nurse Betty, movie Betty Deux, my hamster.