2012.12.17 IP Compliance Report Final
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Bad Girls: Agency, Revenge, and Redemption in Contemporary Drama
e Interdisciplinary Journal of Popular Culture and Pedagogy Bad Girls: Agency, Revenge, and Redemption in Contemporary Drama Courtney Watson, Ph.D. Radford University Roanoke, Virginia, United States [email protected] ABSTRACT Cultural movements including #TimesUp and #MeToo have contributed momentum to the demand for and development of smart, justified female criminal characters in contemporary television drama. These women are representations of shifting power dynamics, and they possess agency as they channel their desires and fury into success, redemption, and revenge. Building on works including Gillian Flynn’s Gone Girl and Netflix’s Orange is the New Black, dramas produced since 2016—including The Handmaid’s Tale, Ozark, and Killing Eve—have featured the rise of women who use rule-breaking, rebellion, and crime to enact positive change. Keywords: #TimesUp, #MeToo, crime, television, drama, power, Margaret Atwood, revenge, Gone Girl, Orange is the New Black, The Handmaid’s Tale, Ozark, Killing Eve Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy 37 Watson From the recent popularity of the anti-heroine in novels and films like Gone Girl to the treatment of complicit women and crime-as-rebellion in Hulu’s adaptation of The Handmaid’s Tale to the cultural watershed moments of the #TimesUp and #MeToo movements, there has been a groundswell of support for women seeking justice both within and outside the law. Behavior that once may have been dismissed as madness or instability—Beyoncé laughing wildly while swinging a baseball bat in her revenge-fantasy music video “Hold Up” in the wake of Jay-Z’s indiscretions comes to mind—can be examined with new understanding. -
The Pathologising Effect of TV Revengendas
University of Wollongong Research Online Faculty of Law, Humanities and the Arts - Papers Faculty of Arts, Social Sciences & Humanities 1-1-2015 The bitter taste of payback: the pathologising effect of TV revengendas Cassandra E. Sharp 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 Sharp, Cassandra E., "The bitter taste of payback: the pathologising effect of TV revengendas" (2015). Faculty of Law, Humanities and the Arts - Papers. 2422. https://ro.uow.edu.au/lhapapers/2422 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] The bitter taste of payback: the pathologising effect of TV revengendas Abstract The thirst for vengeance is a timeless subject in popular entertainment. One need only think of Old Testament scripture; Shakespeare's Hamlet; Quentin Tarantino's Kill Bill or the TV series Revenge, and we immediately conjure up images of a protagonist striving to seek justice to avenge a heinous wrong committed against them. These texts, and others like it, speak to that which is ingrained in our human spirit about not only holding others responsible for their actions, but also about retaliation as payback. This article seeks to problematise the way the popular revenge narrative effectively constructs the vendetta as a guilty pleasure through which the audience can vicariously gain satisfaction, while at the same time perpetuates law's rhetoric that personal desires for vengeance are to be repressed and denied. -
MA Thesis Ceremonials FINAL
ABSTRACT CEREMONIALS: A RECLAMATION OF THE WITCH THROUGH DEVISED RITUAL THEATRE by Rachel Lynn Brandenburg Rituals have been used throughout history as a way to process change and emotion. In the modern day, people are beginning to turn away from organized religion and to take on more personalized rituals and spirituality. As such, identifying as a witch is a growing phenomenon that serves to empower many personally, politically, and spiritually. This creative thesis takes an autobiographical approach to explore how ritual and the identity of the witch can be used as tools of empowerment, tracing the artist’s own journey from Catholicism to a more fluid spiritual life. On February 22nd, 2019, Ceremonials: A Ritual Play opened as part of Miami University’s Independent Artist Series. The play was devised with a student ensemble over a period of five months and stands as the culmination of a series of performance projects that sought to combine ritual and theatre. This portfolio spans the breadth of that practice-based research and includes examples from performance experiments and the devising process, as well as reflections on how ritual and devised theatre can help to empower the individual and the artist. CEREMONIALS: A RECLAMATION OF THE WITCH THROUGH DEVISED RITUAL THEATRE A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts by Rachel Lynn Brandenburg Miami University Oxford, Ohio 2019 Advisor: Saffron Henke Reader: Julia Guichard Reader: Christiana Molldrem Harkulich ©2019 Rachel Lynn Brandenburg This Thesis titled CEREMONIALS: A RECLAMATION OF THE WITCH THROUGH DEVISED RITUAL THEATRE by Rachel Lynn Brandenburg has been approved for publication by The College of Creative Arts and Department of Theatre ____________________________________________________ Saffron Henke, MFA ______________________________________________________ Julia Guichard, MFA _______________________________________________________ Christiana Molldrem Harkulich, PhD Table of Contents 1. -
Copyright by Daniel Joseph Mauro 2020
Copyright by Daniel Joseph Mauro 2020 The Dissertation Committee for Daniel Joseph Mauro Certifies that this is the approved version of the following dissertation: Locating the Politics of Amateur Media Committee: Caroline Frick, Supervisor Michael Baskett Wenhong Chen Mary Celeste Kearney Shanti Kumar Locating the Politics of Amateur Media by Daniel Joseph Mauro Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2020 Dedication For my parents and grandparents. Acknowledgements First and foremost, I thank my supervisor, Caroline Frick, for her patience, humor, guidance, inspiration, pragmatism, and support during my time at the University of Texas at Austin. This project has evolved greatly thanks to her insight and critique and would not have been possible without her wisdom and vision. Caroline has always supported my interest in a career in the museum field and has been a role model for me both personally and professionally. I also greatly appreciate the support and invaluable insights of my doctoral committee: Michael Baskett, Wenhong Chen, Mary Celeste Kearney, and Shanti Kumar. Many thanks for their time, encouragement, and thoughtful feedback throughout my graduate studies. Michael has been a mentor to me since my time at the University of Kansas and challenged me to become a better scholar and teacher. Wenhong broadened my perspective on the study of digital media and invited me to be a part of several exciting research projects. Mary has been an inspiration, from reading Girls Make Media, to seeing her admirable support of graduate students, to having many conversations about amateur media when drafting my dissertation proposal. -
Jastics Delays' Rsveüge
Jastics Delays’ Rsveüge- . ■ C il 1X1 a i - . : . "Г / с;. Justice Delays Revenge- The Spanish Tragedy and Revenge Tradition A Thesis Submitted to the Faculty of Letters and the Institute of Economics and Social Sciences of Bilkent University in Partial Fulfilment of the Requirements for the Degree of Master of Arts in English Language and Literature ta «4^^ by Erhan Kukner September, 1991 PR. Л.65'4 ' S63 è- 3079 We certify that we have read this thesis and that in our combined opinion it is fully adequate, in scope and in quality, as a thesis for the degree of Master of Arts. Asst.Prof.Dr. Hamit Çalışkan (A d v i s o r ) L y ■'· Prof.Dr. Bülent Bozkurt (Committee Member) ' ^ 1 Dr. Laurence A. Raw Approved for the Institute of Economics and Social Sciences 1 1 Abstract Justice Delays Revenge- The Spanish Tragedy and Revenge Tradition Erhan Kükner M.A. In English Literature Advisor: Asst.Prof-Dr. Hamit Çalışkan September, 1991 The Spanish Tragedv. one of the best examples of English Renaissance drama, contributed towards the establishment of the revenge tragedy genre, which gained popularity in the years to come. Kyd in this play not only indicates that when the law is unjust, man will resort to revenge; but also demonstrates that a citizen should obey the ruler and regard revenge as a revolt against the state. Tl-is play tells the story of Hieronimo, who expects the murderer^ of his son to be punished. However, Hieronimo gradually discovers that the institutions of justice are useless and therefore takes revenge. -
The Uses of Animation 1
The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator. -
Revenge Porn: the Concept and Practice of Combatting Nonconsensual Sexual Images in Europe
UNIVERSITY OF LATVIA European Master’s Degree in Human Rights and Democratisation A.Y. 2016/2017 Revenge porn: the concept and practice of combatting nonconsensual sexual images in Europe Author: Francesca Coletti Supervisors: Dr. Artūrs Kučs and Lolita Bērziņa Abstract There have been numerous high profile instances of nonconsensual sexual images, or ‘revenge porn’, within the EU in recent years, and growing social and political awareness of its existence. However, previous research focusing on the online violations of human rights has included little emphasis towards the impact of a horizontal relationship, and the potential for response. This thesis attempts to rectify this omission by considering the defining aspects of revenge porn, impacts for those affected, how far we can consider revenge porn ‘gendered’ or an act of violence, and whether it is a violation of human dignity. Building upon this, national and possible regional responses are weighed in turn. The existing revenge porn laws in the UK are measured for efficacy and impact, in contrast to the current data protection laws in Italy and the recent case of Tiziana Cantone. We then turn to the potential for a regional response from the EU; data protection laws, the right to be forgotten, and ratification of the Istanbul Convention are analysed through the lens of a potential regional revenge porn response. These areas combine and lead us toward an overarching realisation of the actors required, and next steps needed, to combat revenge porn within the EU. i Acknowledgements My sincerest gratitude to Artūrs and Lolita for their support, patience, criticism, and gentle reminders that deadlines are important. -
Industry Appendix of Resources on Non-Consensual Distribution of Sexually Intimate Images
INDUSTRY APPENDIX OF RESOURCES ON NON-CONSENSUAL DISTRIBUTION OF SEXUALLY INTIMATE IMAGES Facebook Community Standards Excerpt (most relevant portions highlighted): Sexual Violence and Exploitation: How we fight sexual violence and exploitation on Facebook. We remove content that threatens or promotes sexual violence or exploitation. This includes the sexual exploitation of minors, and sexual assault. To protect victims and survivors, we also remove photographs or videos depicting incidents of sexual violence and images shared in revenge or without permissions from the people in the images. Our definition of sexual exploitation includes solicitation of sexual material, any sexual content involving minors, threats to share intimate images, and offers of sexual services. Where appropriate, we refer this content to law enforcement. Offers of sexual services include prostitution, escort services, sexual massages, and filmed sexual activity. Facebook Appendix: • Community Standards • Help Center Article: What should I do if someone shares an intimate photo of me without my permission? • Help Center Article: How do I report an abusive photo? • Safety Center Removing Non-consensual Porn from Google Hosted Products and Search We know that sexually explicit imagery that is shared without consent is upsetting and distressing for victims, and so Google has policies to prohibit it on our services. We also have clear process for users to let us know if they identify content on Google services that violates our policies. On Drive, Google+, and YouTube, sharing sexually explicit content is generally disallowed. Users can flag offending content using the in-product user flags so that we can review and remove prohibited content. Step-by-step instructions are available in the Help Centers for Drive, Google+, and YouTube. -
Revenge Porn Angel Quiles
Seton Hall University eRepository @ Seton Hall Law School Student Scholarship Seton Hall Law 2016 Revenge Porn Angel Quiles Follow this and additional works at: https://scholarship.shu.edu/student_scholarship Part of the Law Commons Recommended Citation Quiles, Angel, "Revenge Porn" (2016). Law School Student Scholarship. 832. https://scholarship.shu.edu/student_scholarship/832 Angel Quiles Thesis A federal revenge-porn bill is expected in the near future, and many states have already adopted their own laws. However, there has not been a common consensus with a federal law. This paper will analyze the different state laws and court rulings to create a federal law, which will address a famous revenge-porn case – Lastonia Leviston v. Curtis Jackson (50 Cent). My newly created federal law should balance the individual’s rights to free speech and the government’s interest in protecting its citizens from unprotected speech. Revenge Porn Defined Revenge porn is defined as the nonconsensual postings of images that were originally given to another with the implied expectation of confidentiality.1 According to Miami law professor, Mary Anne Franks, these postings should be considered as nonconsensual pornography.2 Professor Franks defines these acts as such because of the lack of consent that occurs when someone takes another’s private, nude, or sexual photos and then distributes them.3 Posting these images may inflict emotional damage on the victim due to the deep and personal betrayal of the act.4 Since victims do not retain the power to control over who views their images their personal images can become circulated throughout the U.S., and sometimes the world. -
1 To: Drafting Committee on Unauthorized Disclosure of Intimate
To: Drafting Committee on Unauthorized Disclosure of Intimate Images Act From: Mary Anne Franks, Reporter Subject: Explanatory Memo Date: December 2, 2016 I. The Issue The disclosure of private, sexually explicit images without consent and for no legitimate purpose – often referred to as “revenge porn” – causes immediate, devastating, and in many cases irreversible harm. A vengeful ex-partner, opportunistic hacker, or rapist can upload an explicit image of a victim to a website where thousands of people can view it and hundreds of other websites can share it. In a matter of days, that image can dominate the first several pages of search engine results for the victim’s name, as well as being emailed or otherwise exhibited to the victim’s family, employers, co-workers, and peers. Victims are frequently threatened with sexual assault, stalked, harassed, fired from jobs, and forced to change schools.1 Some victims have committed suicide.2 While nonconsensual pornography affects both male and female individuals, available evidence to date indicates that the majority of victims are women and girls and that women and girls face often more serious consequences as a result of their victimization.3 Nonconsensual pornography refers to sexually explicit images and video disclosed without consent and for no legitimate purpose. The term encompasses footage obtained by hidden cameras, consensually exchanged images within a confidential relationship, stolen photos, and recordings of sexual assaults. Nonconsensual pornography often plays a role in intimate -
The Revenge of Jenji Kohan
ThThe Reveevengnge of Jenjnji KoKohanan Smart. Funny. Obsessive. Subversive. How the creator of the hit TV shows Weeds and Orange Is the New Black smoked the doubters and got the last laugh By Paul Hond enji Kohan ’91CC is a rare bird among With the latest season of Orange in the can, the television showrunners: blue-haired and building is quiet today, and Kohan is relaxed. Her female, a punkish Jewish earth mother with private offi ce exudes warmth and comfort, as does a darkly comic vision so basic to her nature Kohan herself. Her hair is the vivid indigo of blue that the goblin of political correctness velvet. Her cat-eye glasses could have been teleported Jshrinks in her presence. As a writer, she is fearless. from a 1962 mahjong game. Objects on her desk She will go there, and keep going. attest to a fondness for thrift-shop fl otsam and novelty “I fi nd the funny in everything, especially the inap- doodads: two Magic 8 Balls, a Weeds condom, and a propriate,” she says. “Maybe it’s my survival technique.” beanbag emblazoned with an unprintable four-letter Kohan’s company, Tilted Productions, is based in word starting with the letter C. central Los Angeles, in a Spanish Colonial–style build- Life wasn’t always this good. “I spent the fi rst part of ing of pink stucco, arched windows, and iron grillwork. my life very frustrated, feeling patronized, and fi ghting Built in 1926 as the Masque Playhouse, it was later injustice, and it doesn’t work when you’re young,” renamed the Hayworth Theatre (legend has it that Kohan says, seated in an armchair with her feet tucked Rita Hayworth’s father once ran a dance studio there). -
“Messengers of Justice and of Wrath”: the Captivity
―Messengers of Justice and of Wrath‖: The Captivity-Revenge Cycle in the American Frontier Romance A dissertation presented to the faculty of the College of Arts and Sciences of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Brian P. Elliott June 2011 © 2011 Brian P. Elliott. All Rights Reserved. 2 This dissertation titled ―Messengers of Justice and of Wrath‖: The Captivity-Revenge Cycle in the American Frontier Romance by BRIAN P. ELLIOTT has been approved for the Department of English and the College of Arts and Sciences by Paul C. Jones Associate Professor of English Benjamin M. Ogles Dean, College of Arts and Sciences 3 ABSTRACT ELLIOTT, BRIAN P., Ph.D., June 2011, English ―Messengers of Justice and of Wrath‖: The Captivity-Revenge Cycle in the American Frontier Romance Director of Dissertation: Paul C. Jones This project explores the central importance of captivity and revenge to four novels in the genre of frontier romance: Charles Brockden Brown‘s Edgar Huntly (1799), James Fenimore Cooper‘s Last of the Mohicans (1826), Catharine Maria Sedgwick‘s Hope Leslie (1827), and Robert Montgomery Bird‘s Nick of the Woods (1837). Although a fundamental plot aspect of nearly every work in the genre, the threat of captivity and the necessity of revenge are rarely approached as topics of inquiry, despite their deep connection to the structure and action of the texts. Perhaps most importantly, as critics Jeremy Engels and Greg Goodale note, these twin tropes serve as a way of unifying disparate social groups and creating order; in essence, such depictions function as a form of what Michel Foucault terms ―governmentality,‖ logics of control that originate from non-governmental sources but promote systems of governance.