The Johnsonian December 12, 1941
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Sexuality Is Fluid''[1] a Close Reading of the First Two Seasons of the Series, Analysing Them from the Perspectives of Both Feminist Theory and Queer Theory
''Sexuality is fluid''[1] a close reading of the first two seasons of the series, analysing them from the perspectives of both feminist theory and queer theory. It or is it? An analysis of television's The L Word from the demonstrates that even though the series deconstructs the perspectives of gender and sexuality normative boundaries of both gender and sexuality, it can also be said to maintain the ideals of a heteronormative society. The [1]Niina Kuorikoski argument is explored by paying attention to several aspects of the series. These include the series' advertising both in Finland and the ("Seksualność jest płynna" - czy rzeczywiście? Analiza United States and the normative femininity of the lesbian telewizyjnego "The L Word" z perspektywy płci i seksualności) characters. In addition, the article aims to highlight the manner in which the series depicts certain characters which can be said to STRESZCZENIE : Amerykański serial telewizyjny The L Word stretch the normative boundaries of gender and sexuality. Through (USA, emitowany od 2004) opowiada historię grupy lesbijek this, the article strives to give a diverse account of the series' first two i biseksualnych kobiet mieszkających w Los Angeles. Artykuł seasons and further critical discussion of The L Word and its analizuje pierwsze dwa sezony serialu z perspektywy teorii representations. feministycznej i teorii queer. Chociaż serial dekonstruuje normatywne kategorie płci kulturowej i seksualności, można ______________________ również twierdzić, że podtrzymuje on ideały heteronormatywnego The analysis in the article is grounded in feminist thinking and queer społeczeństwa. Przedstawiona argumentacja opiera się m. in. na theory. These theoretical disciplines provide it with two central analizie takich aspektów, jak promocja serialu w Finlandii i w USA concepts that are at the background of the analysis, namely those of oraz normatywna kobiecość postaci lesbijek. -
REALLY BAD GIRLS of the BIBLE the Contemporary Story in Each Chapter Is Fiction
Higg_9781601428615_xp_all_r1_MASTER.template5.5x8.25 5/16/16 9:03 AM Page i Praise for the Bad Girls of the Bible series “Liz Curtis Higgs’s unique use of fiction combined with Scripture and modern application helped me see myself, my past, and my future in a whole new light. A stunning, awesome book.” —R OBIN LEE HATCHER author of Whispers from Yesterday “In her creative, fun-loving way, Liz retells the stories of the Bible. She deliv - ers a knock-out punch of conviction as she clearly illustrates the lessons of Scripture.” —L ORNA DUECK former co-host of 100 Huntley Street “The opening was a page-turner. I know that women are going to read this and look at these women of the Bible with fresh eyes.” —D EE BRESTIN author of The Friendships of Women “This book is a ‘good read’ directed straight at the ‘bad girl’ in all of us.” —E LISA MORGAN president emerita, MOPS International “With a skillful pen and engaging candor Liz paints pictures of modern sit u ations, then uniquely parallels them with the Bible’s ‘bad girls.’ She doesn’t condemn, but rather encourages and equips her readers to become godly women, regardless of the past.” —M ARY HUNT author of Mary Hunt’s Debt-Proof Living Higg_9781601428615_xp_all_r1_MASTER.template5.5x8.25 5/16/16 9:03 AM Page ii “Bad Girls is more than an entertaining romp through fascinating charac - ters. It is a bona fide Bible study in which women (and men!) will see them - selves revealed and restored through the matchless and amazing grace of God.” —A NGELA ELWELL HUNT author of The Immortal “Liz had me from the first paragraph. -
Gender Roles & Occupations
1 Gender Roles & Occupations: A Look at Character Attributes and Job-Related Aspirations in Film and Television Stacy L. Smith, PhD Marc Choueiti Ashley Prescott & Katherine Pieper, PhD Annenberg School for Communication & Journalism University of Southern California An Executive Report Geena Davis Institute on Gender in Media Our earlier research shows that gender roles are still stereotyped in entertainment popular with children.1 For example, female characters in feature films populate less than 30% of all speaking roles. A slightly better percentage emerges across our research on gender roles in children’s television programming. Not only are on screen females present less frequently than on screen males, they are often sexualized, domesticated, and sometimes lack gainful employment. To illustrate this last point, our recent analysis2 of every first run general audience film (n=21) theatrically released between September 2006 and September 2009 reveals that a higher percentage of males (57.8%) than females (31.6%) are depicted with an occupation. While females hold marginally more professional jobs than their male counterparts (24.6% vs. 20.9%), women are noticeably absent in some of the most prestigious occupational posts. Across more than 300 speaking characters, not one female is depicted in the medical sciences (e.g., doctor, veterinarian), executive business suites (e.g., CEO, CFO), legal world (e.g., attorney, judge), or political arena. More optimistically, 6 of the 65 working females (9%) are shown with a job in the hard sciences or as pilots/astronauts. These findings suggest that females have not shattered as many glass ceilings in the “reel” world as one might suspect. -
Queer Television Thesis FINAL DRAFT Amended Date and Footnotes
Queer British Television: Policy and Practice, 1997-2007 Natalie Edwards PhD thesis submitted to the University of Nottingham School of American and Canadian Studies, January 2010 Abstract Representations of gay, lesbian, queer and other non-heterosexualities on British terrestrial television have increased exponentially since the mid 1990s. Lesbian, gay, bisexual, transgender and queer characters now routinely populate mainstream series, while programmes like Queer as Folk (1999-2000), Tipping the Velvet (2002), Torchwood (2006-) and Bad Girls (1999-2006) have foregrounded specifically gay and lesbian themes. This increase correlates to a number of gay-friendly changes in UK social policy pertaining to sexual behaviour and identity, changes precipitated by the election of Tony Blair’s Labour government in 1997. Focusing primarily on the decade following Blair’s installation as Prime Minister, this project examines a variety of gay, lesbian and queer-themed British television programmes in the context of their political, cultural and industrial determinants, with the goal of bridging the gap between the cultural product and the institutional factors which precipitated its creation. Ultimately, it aims to establish how and why this increase in LGBT and queer programming occurred when it did by relating it to the broader, government-sanctioned integration of gays, lesbians and queers into the imagined cultural mainstream of the UK. Unlike previous studies of lesbian, gay and queer film and television, which have tended to draw conclusions about cultural trends purely through textual analysis, this project uses government and broadcasting industry policy documents as well as detailed examination of specific television programmes to substantiate links between the cultural product and the wider world. -
Galatea's Daughters: Dolls, Female Identity and the Material Imagination
Galatea‘s Daughters: Dolls, Female Identity and the Material Imagination in Victorian Literature and Culture Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Maria Eugenia Gonzalez-Posse, M.A. Graduate Program in English The Ohio State University 2012 Dissertation Committee: David G. Riede, Advisor Jill Galvan Clare A. Simmons Copyright by Maria Eugenia Gonzalez-Posse 2012 Abstract The doll, as we conceive of it today, is the product of a Victorian cultural phenomenon. It was not until the middle of the nineteenth century that a dedicated doll industry was developed and that dolls began to find their way into children‘s literature, the rhetoric of femininity, periodical publications and canonical texts. Surprisingly, the Victorian fascination with the doll has largely gone unexamined and critics and readers have tended to dismiss dolls as mere agents of female acculturation. Guided by the recent material turn in Victorian studies and drawing extensively from texts only recently made available through digitization projects and periodical databases, my dissertation seeks to provide a richer account of the way this most fraught and symbolic of objects figured in the lives and imaginations of the Victorians. By studying the treatment of dolls in canonical literature alongside hitherto neglected texts and genres and framing these readings in their larger cultural contexts, the doll emerges not as a symbol of female passivity but as an object celebrated for its remarkable imaginative potential. The doll, I argue, is therefore best understood as a descendant of Galatea – as a woman turned object, but also as an object that Victorians constantly and variously brought to life through the imagination. -
“Bad Girls Changed My Life”: Homonormativity in a Women's
Kent Academic Repository Full text document (pdf) Citation for published version Herman, Didi (2003) ”Bad Girls Changed My Life”: Homonormativity in a Women’s Prison Drama. Critical Studies in Media Communication, 20 (2). pp. 141-159. ISSN 1529-5036. DOI https://doi.org/10.1080/07393180302779 Link to record in KAR https://kar.kent.ac.uk/1570/ Document Version UNSPECIFIED Copyright & reuse Content in the Kent Academic Repository is made available for research purposes. Unless otherwise stated all content is protected by copyright and in the absence of an open licence (eg Creative Commons), permissions for further reuse of content should be sought from the publisher, author or other copyright holder. Versions of research The version in the Kent Academic Repository may differ from the final published version. Users are advised to check http://kar.kent.ac.uk for the status of the paper. Users should always cite the published version of record. Enquiries For any further enquiries regarding the licence status of this document, please contact: [email protected] If you believe this document infringes copyright then please contact the KAR admin team with the take-down information provided at http://kar.kent.ac.uk/contact.html Kent Academic Repository – http://kar.kent.ac.uk “Bad Girls Changed My Life”: Homonormativity in a Women’s Prison Drama Didi Herman â Critical Studies in Media Communication 20 (2) pp 141 – 159 2003 Not Published Version Abstract: This paper explores representations of sexuality in a popular British television drama. The author argues that the program in question, Bad Girls, a drama set in a women’s prison, conveys a set of values that are homonormative. -
FORTHCOMING in SPAIN IS (STILL) DIFFERENT, Eds
FORTHCOMING IN SPAIN IS (STILL) DIFFERENT, eds. Jaume Martí Olivella and Eugenia Afinoguenova, U of Minnesota P: Toppling the Xenolith: The Reconquest of Spain from the Uncanny Other in Iberian Film since World War Two Patricia Hart, Purdue University 1. The Others Ser ibero, ser ibero es una cosa muy seria, soy altivo y soy severo porque he nacido en Iberia. Y al que diga lo contrario Y al que ofenda a mi terruño Lo atravieso atrabilario Con esta daga que empuño Fray Apócrifo de la Cruz1 Long before Ruy Díaz de Vivar drove the Moors from Valencia and returned her fragrant orange groves to an ungrateful Alfonso VI—and long before anyone could suspect that in 1983 Angelino Fons would cast lion-tamer Ángel Cristo as the title character in his 1983 comedy, El Cid Cabreador—Iberian popular culture was often obsessed with monarchic, dictatorial, or hegemonic views of what is “us” and what is “other,” and with good reason! That catch-all category, iberos, was loosely used to name all of those prehistoric people living on the Peninsula before they had been invaded by just about every enterprising group armed with swords or something to sell. Celts, Phoenicians, Carthaginians on pachyderms, Greeks, Romans, suevos, alanos Vandals, Visigoths, Moors… no wonder the xenos was traditionally a cause for concern! The blunt, politically- and financially-expedient, medieval interest in the so-called “purity” of blood” and antiquity of Christian conversion served to consolidate power, property, and social stratification. 1 Better known as Moncho Alpuente. Turismo y cine Patricia Hart—Purdue—2 It is essential to keep this in mind as we talk about tourism on film, as for milenia, the idea of travel for pleasure was something reserved for a very tiny elite (and their servants). -
New Cast Members Maxwell Caulfield Plays Jim Brodie
New cast members Maxwell Caulfield plays Jim Brodie Consultant Paediatrician Maxwell Caulfield, who is 43, is delighted to be topless bar in Great Windmill Street.“I didn’t fancy back in “old England”. So often associated with carrying a spear and making cups of tea in rep high-gloss American soaps is he that one forgets theatre for nine months, which is what you had to that his roots are in the Midlands and that he has do to get an Equity card back then.” He lasted 10 Scottish ancestry. He was very much a Londoner weeks as a high stepper, dancing to Pink Floyd for for most of his youth, a dedicated fan of Chelsea the delight of German and Japanese tourists, before FC and a boy scout in west London, before moving getting embroiled in a brawl on stage.“All of a to the heart of Soho. sudden I could afford a Suzuki motorcycle. It was great fun while it lasted but I was glad as hell when “I had a very strong sense of myself when I was in it was over,” he says. my late teens and early twenties, albeit culled from the American rebel hero characters that I admired,” After feeling stifled, Maxwell jetted off to “La La he explains. He figures that is why he was tossed Land”, where he has spent much of his adult life. out of The Drama Centre, where he studied.“After Maxwell claims he never aspired to being on suggesting I see the school psychologist, they American television;“I went to Hollywood sooner showed me the door quite quickly because they than I’d meant to.The move from being discovered thought I was a somewhat disruptive influence. -
By Author Name 1986 - 2020 Nominees
INDIAN PAINTBRUSH BOOK AWARD - By Author Name 1986 - 2020 Nominees Adler, C.S. - Ghost Brother [Nominee 1994] Airgood, Ellen - Prairie Evers [Nominee 2015] Alcock, Vivien - Cuckoo Sister [Nominee 1988] Alexander, Kwame - Crossover [Winner 2018] Alphin, Elaine Marie - Ghost Cadet [Nominee 1993] Angleberger, Tom - Fake Mustache : Or, How Jodie O'rodeo and Her Wonder Horse (And Some Nerdy Kid) Saved the U.S. Presidential Election from a Mad Genius Criminal Mastermind [1st Runner-up 2015] Angleberger, Tom - Strange Case of Origami Yoda (Origami Yoda #1) [1st Runner-up 2012] Appelt, Kathi - The True Blue Scouts of Sugar Man Swamp [Nominee 2015] Applegate, Katherine - One and Only Ivan [1st Runner-up 2014] Applegate, Katherine - Wishtree [Nominee 2019] Auch, Mary - Glass Slippers Give You Blisters [Nominee 1991] Avi - Devil’s Race [Nominee 1988] Avi - Good Dog [Nominee 2004] Avi - Old Wolf [Nominee 2018] Avi - Perloo the Bold [Nominee 2001] Avi - Poppy [Nominee 1998] Avi - Sophia's War : a Tale of the Revolution [Nominee 2014] Baker, E. D. - Frog Princess [Nominee 2008] Balliett, Blue - Chasing Vermeer [Nominee 2006] Banks, Lynne Reid - Indian in the Cupboard (Indian in the Cupboard #1) [1st Runner-up 1986] Banks, Lynne Reid - Mystery of the Cupboard (Indian in the Cupboard #4) [Nominee 1995] Banks, Lynne Reid - Return of the Indian (Indian in the Cupboard #2) [Winner 1989] Banks, Lynne Reid - Secret of the Indian (Indian in the Cupboard #3) [Nominee 1993] Barber, Tiki and Ronde - Kickoff! [Nominee 2011] Barrie, Barbara - Lone Star [Nominee -
Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room. -
Book Title Author Reading Level Approx. Grade Level
Approx. Reading Book Title Author Grade Level Level Anno's Counting Book Anno, Mitsumasa A 0.25 Count and See Hoban, Tana A 0.25 Dig, Dig Wood, Leslie A 0.25 Do You Want To Be My Friend? Carle, Eric A 0.25 Flowers Hoenecke, Karen A 0.25 Growing Colors McMillan, Bruce A 0.25 In My Garden McLean, Moria A 0.25 Look What I Can Do Aruego, Jose A 0.25 What Do Insects Do? Canizares, S.& Chanko,P A 0.25 What Has Wheels? Hoenecke, Karen A 0.25 Cat on the Mat Wildsmith, Brain B 0.5 Getting There Young B 0.5 Hats Around the World Charlesworth, Liza B 0.5 Have you Seen My Cat? Carle, Eric B 0.5 Have you seen my Duckling? Tafuri, Nancy/Greenwillow B 0.5 Here's Skipper Salem, Llynn & Stewart,J B 0.5 How Many Fish? Cohen, Caron Lee B 0.5 I Can Write, Can You? Stewart, J & Salem,L B 0.5 Look, Look, Look Hoban, Tana B 0.5 Mommy, Where are You? Ziefert & Boon B 0.5 Runaway Monkey Stewart, J & Salem,L B 0.5 So Can I Facklam, Margery B 0.5 Sunburn Prokopchak, Ann B 0.5 Two Points Kennedy,J. & Eaton,A B 0.5 Who Lives in a Tree? Canizares, Susan et al B 0.5 Who Lives in the Arctic? Canizares, Susan et al B 0.5 Apple Bird Wildsmith, Brain C 1 Apples Williams, Deborah C 1 Bears Kalman, Bobbie C 1 Big Long Animal Song Artwell, Mike C 1 Brown Bear, Brown Bear What Do You See? Martin, Bill C 1 Found online, 7/20/2012, http://home.comcast.net/~ngiansante/ Approx. -
ACTORS and ACTRESSES WHO HAVE ... -.:: GEOCITIES.Ws
ACTORS AND ACTRESSES WHO HAVE APPEARED WITH GABRIELLE MILLER NAME PRODUCTION CHARACTER A.J. Buckley The Disappearance of Vonnie Robbie Aaron Douglas Breaking News Greg Johnson Aaron Douglas Inspectors 2: A Shred of Evidence Worker Aaron Douglas Just Cause: Hide and Seek Aaron Feser Corner Gas Assistant Aaron Joseph In The Doghouse Zee Aaron Pearl Outer Limits: From Within Clark Aaron Pearl Voyage of Terror Randy Haynes Aaron Smolinski The Sentinel: Smart Alec Jaron Howell Adam Hann-Byrd Digger Digger Adrian Paul Highlander Duncan MacLeod Adrien Dorval Dead Man's Gun Heckler (segment "The Great McDonacle") Ahnee Boyce Madison: Bad Girls Dee-Dee Aidan Drummond The Collector Gabriel Slate Aidan Pendleton The Disappearance of Vonnie Debby Ajay Karah Sliders: Summer of Love Seeker Aki Aleong Breaking the Surface (Louganis) Dr. Sammy Lee Akiko Morison As Time Runs Out News Anchor #2 (as Akiko Ann Morison) Alan Bratt Corner Gas Man Alan C. Peterson Judgment Day: The John List Story Pete DiCicco Alan Scarfe Highlander: Rite of Passage Craig Alan Simpson Pasadena Henry Bellow Alex Bruhanski Neon Rider: Where the Buffalo Roam C.C. Dechardon (1991-1994) Alex Diakun Da Vinci's Inquest Chick Savoy Alex Diakun Dead Man's Gun Crandall (segment "Fool's Gold") Alex Diakun Starlight Pallas Alex Zahara The Immortal: Forest for the Trees Demon Assistant Alexa Gilmour Highlander: Rite of Passage Sharon Alexander Pollock Floating Away Bret (Kyle) Alexander Pollock Video Voyeur: The Susan Wilson Story Orin Wilson Alexandra Purvis Marine Life Adele Nordstrom Alexandra Purvis Poltergeist - The Legacy: The Covenant Katherine 'Kat' Corrigan Alexandra Purvis The Disappearance of Vonnie Amy Pickman Alexis Ioannidis Marine Life Chloe Alf Humphreys Breaking News Robert Jenkins (as Alfred E.