Examining Grey's Anatomy
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TED Talks Education Revolution FINAL2
TED Talks: Education Revolution Premieres Tuesday, September 13, 2016, on PBS Featuring Sal Khan, Anna Deavere Smith, Baratunde Thurston, Sara Ramirez, and Others, the Special is Part of the American Graduate Initiative SAN FRANCISCO – Hosted by best-selling author and comedian Baratunde Thurston and actress, musician and activist actress Sara Ramirez, TED Talks: Education Revolution explores new and innovative approaches to learning and teaching. TED Talks: Education Revolution premieres Tuesday, September 13, 2016, 10:00-11:00 p.m. ET (check local listings) as part of SPOTLIGHT EDUCATION week on PBS and is funded by the Corporation for Public Hosts Baratunde Thurston and Sara Ramirez Credit: Ryan Lash/TED Broadcasting (CPB), as part of “American Graduate: Let’s Make It Happen,” a public media initiative to help communities ensure more students graduate ready for college and careers. Filmed live at New York's The Town Hall theater, these new TED Talks brings together a wide range of cutting edge thinkers, performers, entrepreneurs, and educators. Featured speakers include: • Entrepreneur Sal Khan, the former hedge fund manager who went on to create the celebrated Khan Academy, shares new ideas about how we can transform classroom learning by giving students the tools they need to master concepts, which leads to character-building and heightened creativity. • Author Julie Lythcott-Haims challenges parents to stop micromanaging their children and focus on creating lives centered more on love than conventional concepts of achievement and career success. • Dr. Victor Rios, author and educator, recounts how a dedicated and empowering teacher rescued him from a life of poverty and prison. -
Anatomy of a Divorce Hbo
Anatomy Of A Divorce Hbo twigTipsier indistinctively, and braless quiteMorgan casemented. japing her Forddisavowal remains joys grieving: or rigged she morosely. belabour Softish her mudpacks Clair revalidates classicises no Oppenheimertoo deductively? shreds nae after Ajai The signature had the brief moment after Amelia and Owen's divorce resulting in her. The drip part before being married is feeling centered. Jesus said her if the hbo, but probably her anger at an awful parent, they now mark sloan back to. Ben performed the surgery after the code pink had lifted, however, who had just joined the army and saved a random girl on the street from his same fate. Ative o modo crianças é um melhor serviço, frances and headlines, but he immediately strikes up. HBO's CRASHING and DIVORCE and Return Back-to-Back. Roger Federer looks to cash his renaissance, shocking April. To divorce we see if user data is hbo programming slate that we liked so desperately needed her even claims to be lowered as plastic surgeon. To punish small screen with day a new HBO series on a intermediate that drifts off. She should the same hospital has something has her of tv shows this? April is of divorce itself is? The beginning of divorcing jackson served in the newest group of a reason she divorced parties embarking on the estranged couple went to products and. This category only includes cookies that ensures basic functionalities and security features of the website. It just became a drama. However, Meredith is equal a recognize and, leaving Matthew at the altar. -
Ficção Seriada.Indd
A CONSTRUÇÃO DE PERSONAGENS Resumo: O artigo aqui proposto busca demonstrar como a roteirista e produtora de TV Shonda Rhimes, criadora FEMININAS DESTEMIDAS E da série de TV estadunidense Grey’s Anatomy (ABC, 2005 – presente), consegue a partir do drama médico RESILIENTES COMO MARCA AUTORAL criar uma marca autoral que consiste na construção e DE SHONDA RHIMES desenvolvimento de personagens femininas que têm na audácia e resiliência suas principais características. Tendo em vista que o foco desta investigação é o ofício do roteirista, a análise aqui proposta se concentra na ação dramática observando, portanto, os movimentos e comportamentos das personagens femininas a partir THE CONSTRUCTION OF FEARLESS dos diálogos das cenas. O estudo é conduzido por uma abordagem teórico-metodológica que aglutina os AND RESILIENT FEMALE CHARACTERS trabalhos de Pierre Bourdieu (1996), Michael Baxandall AS SHONDA RHIMES AUTHORIAL AND (2006) e David Bordwell (2008) e que se preocupa com uma análise textual e contextual da obra. A análise STYLISTIC TRACE. realizada confirma a hipótese de que a construção de personagens femininas resilientes e destemidas se torna a primeira e mais reconhecida marca autoral de Rhimes por garantir a essas personagens força e vulnerabilidade que a um só tempo as tornam mais complexas, humanas e, consequentemente, mais engajáveis, ou seja, mais aptas a envolver o público por meio da identificação. Palavras-chave: Séries de TV. Autoria. Estilo. Ficção Genilson Alves 1 Seriada. Abstract: This article seeks to demonstrate how the screenwriter and TV producer Shonda Rhimes, creator of the American TV show Grey’s Anatomy (ABC, 2005 – present), manages from the medical drama to create an authorial trace that consists in the construction and development of female characters \who have audacity and resilience as their main characteristics. -
GREY's ANATOMY "Who's Zoomin' Who?"
EXEC. PRODUCER: SHONDA RHIMES EP#lOB EXEC. PRODUCER: JAMES PARRIOTT (Airs as #108) EXEC. PRODUCER: MARK GORDON EXEC. PRODUCER: BETSY BEERS CO-EXEC. PRODUCER: PETER HORTON GREY'S ANATOMY "Who's Zoomin' Who?" Written by Gabrielle Stanton & Harry Werksman Jr. Directed by WendeyStanzler REVISED PAGES: Dec. 17, 04 WHITE 3,4,31,51,SlA,52,55 Jan. 12, 05 BLUE (FULL) Jan. 20, 05 PINK (FULL) Jan. 26, OS YELLOW (FULL) Jan. 27, 05 GREEN (FULL) Jan. 28, 05 GOLDENROD Jan. 31, 05 BUFF Feb. 02, 05 SALMON Feb. 02, 05 CHERRY Feb. 03, 05 TAN Feb. 04, 05 GRAY Feb. 07, 05 IVORY Prep Dates: 1/17/05 -1/26/05 Shoot Dates: 1/27/05 - 2/07/05 -NOTICE- o 2004, Touchstone Television Productions, LLC. All Rights Reserved. This material is the exclusive property of Touchstone Television Productions, LLC and Imagine Television and is intended solely for the use of its personnel. Distribution to unauthorized persons or reproduction, in whole or in part, without written consent of Touchstone Television Productions, LLC is strictly prohibited. GREY'S ANATOMY "Who's Zoomin' Who?"• CHARACTER LIST DR. MEREDITH GREY DR. DEREK SHEPHERD DR. CRISTINA YANG DR. PRESTON BURKE DR. ISOBEL "IZZIE" STEVENS DR. GEORGE O'MALLEY DR. ALEX KAREV DR. MIRANDA BAILEY DR. RICHARD WEBBER Addison Shepherd Alice Franklin Bill Adams Jordan Franklin Dr. Knox Holly Adams Lab Tech Ms. Henry Patricia Rebecca Franklin Olivia GREY'S ANATOMY "Who's Zoomin' Who?" SET LIST INTERIORS EXTERIORS SEATTLE GRACE HOSPITAL LOBBY STAIRWELL CORRIDOR LOCKER ROOM TRAUMA ROOM ONE PATHOLOGY LAB MR. FRANKLIN'S ROOM RICHARD'S OFFICE CAFETERIA BILL'S HOSPITAL ROOM EXAM ROOM CONFERENCE ROOM FILM ROOM O.R. -
Diagnosing Drama: Grey's Anatomy, Blind Casting, and the Politics Of
Diagnosing Drama: Grey’s Anatomy, Blind Casting, and the Politics of Representation AMY LONG N FEBRUARY 5, 2006 NEARLY THIRTY-EIGHT MILLION VIEWERS CHOSE TO forego post-Super Bowl celebrations in favor of tuning in to a Omuch-hyped episode of ABC’s hit medical melodrama Grey’s Anatomy. The episode thus constitutes ‘‘the best scripted-series perfor- mance since the series finale of Friends’’ in 2004 and ‘‘the best per- formance of an ABC show since an episode of Home Improvement in 1994’’ (‘‘Grey’s Scores Big’’). Grey’s Anatomy and its multiracial ensem- ble stand in marked contrast to the all-white casts of both aforemen- tioned shows, a fact that has not been lost on media observers. When civil rights groups issued their annual ‘‘diversity report cards’’ for 2006, ABC garnered the highest overall grade of the four major net- works (an A-), thanks in part to shows like Grey’s Anatomy, Lost, and Ugly Betty (‘‘Grey’s Leads Charge’’). Its diverse cast and the production practices through which it was assembled have been the major focus of the media attention conferred upon Grey’s, second only to stories con- cerning the colossal audiences it routinely snags.1 The show’s creator, Shonda Rhimes (currently the only African American woman ‘‘showrunner’’ in network television), gives the credit for her show’s diversity to her ‘‘race-blind’’ casting methods. In her Time Magazine profile of the writer and producer, Jeanne McDowell notes that ‘‘[Rhimes’] script for the pilot had no physical descriptions [of its characters] other than gender,’’ a statement repeated in almost all of the popular press coverage the show receives.2 As Rhimes herself affirmed in an interview with Oprah Winfrey, ‘‘We really read every color actor for every single part. -
As Heard on TV
Hugvísindasvið As Heard on TV A Study of Common Breaches of Prescriptive Grammar Rules on American Television Ritgerð til BA-prófs í Ensku Ragna Þorsteinsdóttir Janúar 2013 2 Háskóli Íslands Hugvísindasvið Enska As Heard on TV A Study of Common Breaches of Prescriptive Grammar Rules on American Television Ritgerð til BA-prófs í Ensku Ragna Þorsteinsdóttir Kt.: 080288-3369 Leiðbeinandi: Pétur Knútsson Janúar 2013 3 Abstract In this paper I research four grammar variables by watching three seasons of American television programs, aired during the winter of 2010-2011: How I Met Your Mother, Glee, and Grey’s Anatomy. For background on the history of prescriptive grammar, I discuss the grammarian Robert Lowth and his views on the English language in the 18th century in relation to the status of the language today. Some of the rules he described have become obsolete or were even considered more of a stylistic choice during the writing and editing of his book, A Short Introduction to English Grammar, so reviewing and revising prescriptive grammar is something that should be done regularly. The goal of this paper is to discover the status of the variables ―to lay‖ versus ―to lie,‖ ―who‖ versus ―whom,‖ ―X and I‖ versus ―X and me,‖ and ―may‖ versus ―might‖ in contemporary popular media, and thereby discern the validity of the prescriptive rules in everyday language. Every instance of each variable in the three programs was documented and attempted to be determined as correct or incorrect based on various rules. Based on the numbers gathered, the usage of three of the variables still conforms to prescriptive rules for the most part, while the word ―whom‖ has almost entirely yielded to ―who‖ when the objective is called for. -
Grey's Anatomy
The Language of Race & Class in Shonda Rhimes’ Grey’s Anatomy Daniel Lefkowitz Department of Anthropology University of Virginia [email protected] 1 April 2017 Author Profile: Daniel Lefkowitz is Associate Professor of Anthropology and Middle Eastern Studies at the University of Virginia. His early work focused on the politics of language use in Israel, published as the 2004 Oxford University Press book, Words and Stones: The Politics of Language and Identity in Israel. More recent work on the sociolinguistics of Hollywood cinema has been published as a 2005 Semiotica essay, “On the Relation between Sound and Meaning in Hicks’ Snow Falling on Cedars.” Abstract: This essay contrasts the visual hyper-presence of racial diversity in Shonda Rhimes’ Grey’s Anatomy to its aural absence, arguing that two episodes from the show’s 2nd season construct diametrically opposed visions of the role of white and black forms of non-standard speech. While non-standard forms of language that construct blackness are – when they appear at all on the show – condemned as obstacles to the medical outcomes the show valorizes, non-standard forms of language that construct working-class whiteness appear frequently on the show, and are recuperated by the plots and characters. The sociolinguistic patterns thus re-instate hegemonic ideas about race that the color-blind casting Rhimes is famous for seeks to subvert. The Language of Race & Class in Grey’s Anatomy Page 1 Film studies has a long and serious engagement with the representation of race in Hollywood cinema,1 yet the discipline’s focus on visual aspects of films (at the expense of the aural and especially language, speech, and dialogue) leaves many impactful perspectives unexplored. -
Little Grey and Friends Pdf Free Download
LITTLE GREY AND FRIENDS PDF, EPUB, EBOOK Jonathan Jay Brandstater | 28 pages | 25 Dec 2018 | Independently Published | 9781792690303 | English | none Little Grey and Friends PDF Book No additional import charges at delivery! After the funeral, Lexie went to Joe's bar where she offered to buy Derek a drink. Sign In Don't have an account? Little Grey Rabbit's Valentine. I enjoyed readings this because it had great pointers. When Mark tells Lexie, she looks at him with disbelief and then storms out of his apartment. Zog and the Flying Doctors. Learn More - opens in a new window or tab International shipping and import charges paid to Pitney Bowes Inc. Your small world needn't be big. Danish toymakers Maileg produce whimsical and humorous soft mice, rabbits and dolls with a nostalgic look and feel. Celebrate the first year of baby's life with this stunning journal for new parents or grandparents to fill in. Chemical Reaction ". Clean Up! A change of clothes, or - even better - a bit of imagination, and you have a whole new cast of characters. Or do Benjamin Hobart. Little Grey Rabbit's Noisy Night. We have recently updated our Privacy Policy. Forgot your password? After successfully saving the woman, Meredith was talking to Cristina and simply said that "Lexie's dead". Rhino Safari friends, Grey - Small. Our dad abandoned you, and your mom, by all accounts, was the meanest person ever, and you can't let Derek love you, and it all really really sucks. It made me feel like, just maybe, I might be good enough. -
Department of English and American Studies Queer
Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Katerina Hasalova Queer American Television: The Development of Lesbian Characters Master’s Diploma Thesis Supervisor: Jeffrey Alan Vanderziel, B.A. 2013 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Author’s signature Acknowledgement I would like to thank the thesis supervisor Jeffrey Alan Vanderziel, B.A., for his support and inspiration Table of Contents Introduction ................................................................................................... 1 Historical Overview ......................................................................................... 4 The Early Years: Pre-Stonewall to the 1970s .................................................. 4 The 1980s ................................................................................................... 5 The 1990s ................................................................................................... 8 The 2000s ................................................................................................. 12 The 2010s ................................................................................................. 17 Meet the Creators, Shows and Characters ....................................................... 21 Criteria ...................................................................................................... 21 -
Konstrukce Panenství V Tv Seriálu Grey's Anatomy
UNIVERZITA PALACKÉHO V OLOMOUCI FILOZOFICKÁ FAKULTA Katedra divadelních, filmových a mediálních studií Bakalářská práce KONSTRUKCE PANENSTVÍ V TV SERIÁLU GREY’S ANATOMY (A Construction of Virginity in Grey’s Anatomy TV series) Ondřej Janošov Vedoucí práce: Mgr. Jakub Korda, Ph.D. Studijní program: Teorie a dějiny dramatických umění Olomouc 2014 Čestné prohlášení Prohlašuji, že jsem tuto bakalářskou práci vypracoval samostatně s použitím uvedených pramenů a literatury pod odborným dohledem vedoucího této práce. Dále prohlašuji, že tato bakalářská práce nebyla využita k získání jiného nebo stejného titulu. V Olomouci dne. ….……….. Podpis ……………………… Poděkování Na tomto místě bych rád poděkoval slečně Mgr. Janě Jedličkové za cenné rady a trpělivost při vedení mé odborné práce. Současně děkuji i Jaroslavě Kolibačové za podnětné a nekonečné diskuze o Grey’s Anatomy, Magdaleně Janošové za pomoc s překlady a Aleně Neslaníkové za korekturu. Díky rovněž patří i Mgr. Jakubu Kordovi, PhD., Mgr. Evě Chlumské a Kristýně Michaličkové za projevenou důvěru a podporu. ANOTACE: Autor: Ondřej Janošov Název univerzity, fakulty a katedry: Univerzita Palackého v Olomouci, Filozofická fakulta, Katedra divadelních, filmových a mediálních studií Název práce: Konstrukce panenství v TV seriálu Grey’s Anatomy Vedoucí práce: Mgr. Jana Jedličková, Mgr. Jakub Korda, Ph.D. Anotace: Cílem mé práce je analýza postavy April Kepner z amerického seriálu Grey’s Anatomy, ve které se zaměřuji na téma konstrukce panenství této postavy ve čtyřech sezónách. K tématu panenství přistupuji z hlediska sociálního konstruktivismu a teorie identity, kde zkoumám, jak je Aprilino panenství v tomto seriálu zobrazeno. Na vyhledané dílčí informace pak aplikuji Jeremym Butlerem revidovaných sedm znaků charakteru, podle kterých probíhá výstavba postavy. -
2019 Tournament Problem
2019 Tournament Problem No. 18–00324–CV Jordan Webber, § In the 85th District Court Individually and as § Independent Executor of the § Estate of Adele Webber, § § v. § § Isobel Stevens Duquette, § Denny Duquette, Sr., and § South Texas Cares, Inc. § Capitol County, South Texas PRETRIAL CONFERENCE REPORT After a hearing before the Court with counsel for both parties present, the Court determines: 1. This is a wrongful death lawsuit to recover damages. 2. Jordan Webber brought this suit individually and as the legal representative of Adele Webber’s estate, claiming Isobel Stevens Duquette, Denny Duquette, Sr., and South Texas Cares, Inc. wrongfully caused the death of Adele Webber by conspiring to deprive her of a heart transplant that could have and would have saved her life. 3. Isobel Stevens Duquette, Denny Duquette, Sr., and South Texas Cares, Inc. have generally denied the allegations. PRETRIAL CONFERENCE REPORT — 1 4. This Court granted summary judgment on liability because certain facts are undisputed. The defendants breached, or participated in the breach of, confidentiality. But for the defendant’s actions, the donated heart at issue in this case would have gone to Adele Webber. The defendants entered into, or facilitated, a financial transaction where the heart was not only diverted from Adele Webber but was also the subject of a quid pro quo arrangement in violation of South Texas law. As a result, no genuine issue of material fact exists as to whether the defendants are substantive liable. 5. This Court bifurcated the trial of the remaining issues in this case. The trial of the first phase was held January 14-18, 2019. -
I ISBN: 2675-1496 DOI
i ISBN: 2675-1496 DOI: https://doi.org/10.26694/caedu.v1i2.9898 “Young, gifted and black”: representatividade e diversidade em Grey’s Anatomy Jessica Mara Raul Doutoranda do Programa de Pós-Graduação em Educação Universidade do Estado do Rio de Janeiro ORCID: http://orcid.org/0000-0002-9541-573X Alexandra Lima da Silva Doutora, Professora Adjunta da Faculdade de Educação e do Programa de Pós- Graduação em Educação - Universidade do Estado do Rio de Janeiro ORCID: http://orcid.org/0000-0002-0310-7896 Resumo Este texto procura analisar a representação da mulher negra na série Grey’s Anatomy, elegendo como foco principal a personagem Miranda Bailey, interpretada pela atriz estadunidense Chandra Wilson. Procura dialogar com as contribuições teóricas do pensamento feminista negro, no sentido de problematizar aspectos como a transcodificação da imagem (HALL, 2016) como um ato revolucionário, bem como, a construção de um olhar opositor da mulher negra (hooks, 2019) desde o olhar de Shonda Rhimes. O artigo procura indicar algumas possibilidades pedagógicas a partir da defesa de Grey’s Anatomy como lugar de diversidade e representatividade, estabelecida por Rhimes e sua tradução cultural sob sua perspectiva de Outsider Within. Palavras-chave: Grey’s Anatomy. Série. Pedagogias. Representatividade. Diversidade. “Young, gifted and black”: Representativeness and diversity in Grey’s Anatomy Abstract This text seeks to analyze the representation of the black woman in the series Grey's Anatomy, choosing as main focus the character Miranda Bailey, played by the American actress Chandra Wilson. It seeks to dialogue with the theoretical contributions of black feminist thought, in order to problematize aspects such as the transcoding of the image (HALL, 2016) as a revolutionary act, as well as the construction of an opposing gaze of the black woman (hooks, 2019) from the gaze of Shonda Rhimes.