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Media Advocacy. Fighting Defamation. Changing Hearts and Minds
GAY & LESBIAN AllIANCE AgAINST DEFAMATION PERFORMANCE REPORT 2007 Media Advocacy. Fighting Defamation. Changing Hearts and Minds. Personal Stories That Move Public Opinion 70280_GLAAD_r2.indd 1 6/26/08 1:04:19 PM GLAAD PERFORMANCE REPORT 2007 1 Letter from the President 1 Letter from the National Board Co-Chairs 2 Changing Hearts and Minds: Harnessing the Power of the Media to Move Public Opinion 8 Media Advocacy: Focused on Issues of Faith 14 Fighting Defamation: Holding Media Accountable 20 Timeline of Accomplishments 23 18th Annual GLAAD Media Awards 24 Support 30 Independent Auditors’ Report 31 Financial Statements 32 Board of Directors, Staff, Media Fellowships and Internships 70280_GLAAD_r2.indd 2 6/26/08 1:04:19 PM GLAAD PERFORMANCE REPORT 2007 1 Letter from the President Letter from the National Board Co-Chairs I often say that how our lives are portrayed in the media doesn’t On behalf of the GLAAD National Board of Directors and our make a bit of difference; it makes all the difference. Media advocacy, senior volunteers across the country, we are pleased and proud fighting defamation, and changing hearts and minds are at the to offer you this Performance Report for 2007. core of GLAAD ’s mission. Throughout 2007 and for over 22 years, GLAAD has met significant programmatic and operational our culture-changing work has helped empower Americans who milestones in 2007 that are critical to our continued success believe in fairness for all people. The visibility of the lesbian, gay, as the LGBT community’s national media advocacy and anti- bisexual and transgender (LGBT ) community, telling our individual defamation organization. -
The Analysis of Transition in Woman Social Status—Comparing Cinderella with Ugly Betty
ISSN 1798-4769 Journal of Language Teaching and Research, Vol. 1, No. 5, pp. 746-752, September 2010 © 2010 ACADEMY PUBLISHER Manufactured in Finland. doi:10.4304/jltr.1.5.746-752 The Analysis of Transition in Woman Social Status—Comparing Cinderella with Ugly Betty Tiping Su Huaiyin Normal University, Huai’an, China Email: [email protected] Qinyi Xue Huaiyin Normal University, Huai’an, China Email: [email protected] Abstract—Cinderella, a perfect fairly tale girl has been widely known to the world. Its popularity reveals the universal Cinderella Complex hidden behind the woman status. My thesis focuses its attention on the transition in woman status. First, it looks into the Cinderella paradigm as well as its complex in reality. Second, it finds the transcendence in modern Cinderella. The last part pursues the development of women status’ improvement. In current study, seldom people make comparisons between Cinderella and Ugly Betty. With its comparison and the exploration of feminism, it can be reached that woman status have been greatly improved under the influence of different factors like economic and political. And as a modern woman lives in the new century, she has to be independent in economy and optimistic in spirit. Index Terms—Cinderella Complex, Ugly Betty, feminist movement, feminine consciousness, women status I. INTRODUCTION Cinderella, a beautiful fairy tale widely known around the world, has become a basic literary archetype in the world literature. Its popularity reveals the universal Cinderella Complex hidden behind the human’s consciousness. With the development of feminine, women came to realize their inner power and the meaning of life. -
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. -
AGE Qualitative Summary
AGE Qualitative Summary Age Gender Race 16 Male White (not Hispanic) 16 Male Black or African American (not Hispanic) 17 Male Black or African American (not Hispanic) 18 Female Black or African American (not Hispanic) 18 Male White (not Hispanic) 18 Malel Blacklk or Africanf American (not Hispanic) 18 Female Black or African American (not Hispanic) 18 Female White (not Hispanic) 18 Female Asian, Asian Indian, or Pacific Islander 18 Male Asian, Asian Indian, or Pacific Islander 18 Female White (not Hispanic) 18 Female White (not Hispanic) 18 Female Black or African American (not Hispanic) 18 Male White (not Hispanic) 19 Male Hispanic (unspecified) 19 Female White (not Hispanic) 19 Female Asian, Asian Indian, or Pacific Islander 19 Male Asian, Asian Indian, or Pacific Islander 19 Male Asian, Asian Indian, or Pacific Islander 19 Female Native American or Alaskan Native 19 Female White (p(not Hispanic)) 19 Male Hispanic (unspecified) 19 Female Hispanic (unspecified) 19 Female White (not Hispanic) 19 Female White (not Hispanic) 19 Male Hispanic/Latino – White 19 Male Hispanic/Latino – White 19 Male Native American or Alaskan Native 19 Female Other 19 Male Hispanic/Latino – White 19 Male Asian, Asian Indian, or Pacific Islander 20 Female White (not Hispanic) 20 Female Other 20 Female Black or African American (not Hispanic) 20 Male Other 20 Male Native American or Alaskan Native 21 Female Don’t want to respond 21 Female White (not Hispanic) 21 Female White (not Hispanic) 21 Male Asian, Asian Indian, or Pacific Islander 21 Female White (not -
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. -
Socioeconomic Class Representation in Sitcoms Awroa:&~
KEEPING UP WITH THE JONESES: SOCIOECONOMIC CLASS REPRESENTATION IN SITCOMS by ALEXANDRA HICKS A THESIS Presented to the School of Journalism and Communication and the Robert D. Clark Honors College in partial fulfillment of the requirements for the degree of Bachelor of Arts June 2014 A• Abstracto( the Thesis of Alexandra Hicks for 1he degree ofBachelor of Arts in the School of Journalism and Communication to be talcen June, 2014 Title: Keeping Up With the Jonescs: Socioeconomic Class Representation in Sitcoms Awroa:&~ This thesis examines the representation of socioeconomic class in situation comedies. Through the influence of the advertising industiy, situation comedies (sitcoms) have developed a pattem throughout history of misrepresenting ~ial class, which is made evident by their portrayals ofdifferent races, genders, and professions. To rectify the IKk ofprevious studies on modem comedies, this study analyzes socioeconomic class representation on sitcoms that have aired in the last JS years by taking a sample ofseven shows and comparing the estimated cost of characters' residences to the amount of money they would likely earn in their given profession. 1be study showed that modem situation comedies misrepresent socioeconomic class by portraying characters living in residences well beyond what they could afford in real life. Accurate demonstration ofsocioeconomic class on television is imperative be<:ause images presented on television genuinely influence viewers• perceptions of reality. Inaccurate portrayals ofclass could cause audiences to develop distorted views ofmember.; of socioeconomic classes and themselves. u Acknowledgements I would like to thank Professor Debra Merskin for inspiring me to examine television in an in-depth and critical manner. -
'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. -
Maria Kyriacou
MINUTES SEASON 8 1 3 THE EUROPEAN SERIES SUMMIT JULY FONTAINEBLEAU - FRANCE 2019 CREATION EDITORIAL TAKES POWER! This mantra, also a pillar of Série Series’ identity, steered Throughout the three days, we shone a light on people the exciting 8th edition which brought together 700 whose outlook and commitment we particularly European creators and decision-makers. connected with. Conversations and insight are the DNA of Série Series and this year we are proud to have During the three days, we invited attendees to question facilitated particularly rich conversations; to name but the idea of power. Both in front and behind the camera, one, Sally Wainwright’s masterclass where she spoke of power plays are omnipresent and yet are rarely her experience and her vision with a fellow heavyweight deciphered. Within an industry that is booming, areas in British television, Jed Mercurio. Throughout these of power multiply and collide. But deep down, what is Minutes, we hope to convey the essence of these at the heart of power today: is it the talent, the money, conversations, putting them into context and making the audience? Who is at the helm of series production: them available to all. the creators, the funders, the viewers? In these Minutes, through our speakers’ analyses and stories, we hope to For the first time, this year, we have also wanted to o er you some food for thought, if not an answer. broaden our horizons and o er a “white paper” as an opening to the reports, focusing on the theme of Creators, producers, broadcasters: this edition’s power, through the points of view that were expressed 120 speakers flew the flag for daring and innovative throughout the 8 editions and the changes that Série 3 European creativity and are aware of the need for the Series has welcomed. -
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Movielistings
4b The Goodland Star-News / Friday, December 29, 2006 Like puzzles? Then you’ll love sudoku. This mind-bending puzzle will have FUN BY THE NUMBERS you hooked from the moment you square off, so sharpen your pencil and put your sudoku savvy to the test! Here’s How It Works: Sudoku puzzles are formatted as a 9x9 grid, broken down into nine 3x3 boxes. To solve a sudoku, the numbers 1 through 9 must fill each row, col- umn and box. Each number can appear only once in each row, column and box. You can figure out the order in which the numbers will appear by using the numeric clues already provided in the boxes. The more numbers you name, the easier it gets to solve the puzzle! ANSWER TO TUESDAY’S SATURDAY EVENING DECEMBER 30, 2006 SUNDAY EVENING DECEMBER 31, 2006 6PM 6:30 7PM 7:30 8PM 8:30 9PM 9:30 10PM 10:30 6PM 6:30 7PM 7:30 8PM 8:30 9PM 9:30 10PM 10:30 E S E = Eagle Cable S = S&T Telephone E S E = Eagle Cable S = S&T Telephone Flip This House Profit chal- Flip This House: The Movie Justice: Deadly Magnolia: Justice Hooker kills men. Flip This House Profit chal- The First 48: Fallen; Dog the Bounty Hunter: Dog the Bounty Hunter Dog the Dog the The First 48: Fallen; 36 47 A&E lenge. (TV G) (R) Star House (R) Patricia Allanson (TVPG) lenge. (TV G) (R) 36 47 A&E Texas Burning (R) Bonds of Love (R) (TVPG) (R) Hunter (R) Hunter (R) Texas Burning (R) Ugly Betty: After Hours Ugly Betty: Lose the Boss? Ugly Betty: Fake Plastic KAKE News (:35) American Idol Re- (:35) Enter- Extreme Makeover: Desperate Housewives: Dick Clark’s New Year’s KAKE News (:35) -
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. -
Atx Television Festival 2016 Coverage
ATX TELEVISION FESTIVAL 2016 COVERAGE General ATX Coverage • NEW YORK TIMES | Norman Lear and Aaron Sorkin Help ATX Festival Reach New Heights | June 13 • FAST COMPANY | The Most Creative People in Business 2016: Emily Gipson | June 6 • FAST COMPANY | The Most Creative People in Business 2016: Caitlin McFarland | June 6 th • ENTERTAINMENT WEEKLY | EW & ATX Celebrate TV | June 24 Issue • EW.COM | ATX Festival 2016: See the Exclusive Portrait Photos | June 12 • EW.COM | When Is ATX Festival? And Other Burning Questions Answered! | June 9 • EW.COM | VIDEO: Actors and Creators Mourn the Loss of Their Shows Gone Too Soon |June 20 • VARIETY | Winners of Inaugural ATX-Black List Script Competition Announced (EXCLUSIVE) | June 9 • ACCESS HOLLYWOOD.COM | 10 Things You Need to Know From 100 Hours at the ATX TV Festival | June 13 • AUSTIN CHRONICLE | ATX Panel and Event Picks | June 10 • AUSTIN CHRONICLE | ATX Television Festival: Season 5 | June 10 • GOOD DAY AUSTIN | ATX Television Festival 2016 Gets Underway | June 9 • TELL-TALE TV | Interview with ATX TV Festival Co-Founders Emily Gipson and Caitlin McFarland | June 13 • TELL-TALE TV | Nick Wechsler Says the ATX Television Festival is a ‘Beautiful Family’ | June 14 • GLIDE MAGAZINE | Four Days at the Weird and Wonderful ATX TV Fest | June 16 • REALLY LATE REVIEWS | ATX Television Festival Recap: A First Timer’s Experience | June 22 • CW ATLANTA | 5th Annual ATX Television Festival Announces Its Lineup | May 10 • CW ATLANTA | ATX Television Festival 2016 - Day 1-2 | June 11 • CW ATLANTA | ATX