Commencement Address
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Malignant Shame and Stereotypes in Irish Culture
Malignant Shame and Stereotypes in Irish Culture Will McAneny International Affairs and Human Services Abstract: Central Comparison #1: the Irish Race and Abused Irish Stereotypes in Popular Culture: “The Irish The Influence of The Irish experienced over 800 years of British Children Ape” the Catholic Church: colonialism—a period marked by several instances English cartoonists of the Victorian era often drew Because of the poor living conditions of the Irish, Comparison of Irish and American Abuse Prevalence of oppression and abuse of British power. While 60 upon the pseudoscience of eugenics in order to the Church was able to attain a degree of control racist oppression of the Irish, both on the island of 50 portray the Irish as apelike and subhuman, further over its constituents mirrored almost nowhere 40 Ireland and among the Irish diaspora, is presently a subjugating an already second-class population. else. Strongly influenced by the French 30 fairly rare occurrence, the aftereffects of the racism Irish Additionally, the Irish diaspora in America philosophy of Jansenism, the Irish Roman 20 American they endured for centuries linger in Irish culture experienced a great degree of racism that shaped a Catholic Church came to espouse an inflexible, 10 even today. Because of their long history of development of malignant shame even among the Hobbesian dogma. Therefore, the Irish both at 0 oppression as the rare Western country that was Percentage with Harmful Percentage of Women Who Percentage of Men Who Irish diaspora. Despite their -
30 Rock: Complexity, Metareferentiality and the Contemporary Quality Sitcom
30 Rock: Complexity, Metareferentiality and the Contemporary Quality Sitcom Katrin Horn When the sitcom 30 Rock first aired in 2006 on NBC, the odds were against a renewal for a second season. Not only was it pitched against another new show with the same “behind the scenes”-idea, namely the drama series Studio 60 on the Sunset Strip. 30 Rock’s often absurd storylines, obscure references, quick- witted dialogues, and fast-paced punch lines furthermore did not make for easy consumption, and thus the show failed to attract a sizeable amount of viewers. While Studio 60 on the Sunset Strip did not become an instant success either, it still did comparatively well in the Nielson ratings and had the additional advantage of being a drama series produced by a household name, Aaron Sorkin1 of The West Wing (NBC, 1999-2006) fame, at a time when high-quality prime-time drama shows were dominating fan and critical debates about TV. Still, in a rather surprising programming decision NBC cancelled the drama series, renewed the comedy instead and later incorporated 30 Rock into its Thursday night line-up2 called “Comedy Night Done Right.”3 Here the show has been aired between other single-camera-comedy shows which, like 30 Rock, 1 | Aaron Sorkin has aEntwurf short cameo in “Plan B” (S5E18), in which he meets Liz Lemon as they both apply for the same writing job: Liz: Do I know you? Aaron: You know my work. Walk with me. I’m Aaron Sorkin. The West Wing, A Few Good Men, The Social Network. -
30 Rock This Season, Particularly the Character of Liz Lemon, Played by Tina Fey
INTRODUCTIONS Get me interested! GETTING STARTED • The purpose of the introduction is to get your reader interested and give them what they need to know to understand and follow your argument • Keep this in mind when writing it, reviewing it, editing it, revising it. • Think about the first five minutes of a television pilot – you’re either going to continue watching, or change the channel. • Make your reader give you the benefit of the doubt WAYS TO BEGIN: • It’s called an attention getter, but it • Explain the larger context of your doesn’t have to be awe-inspiring topic awesome • Offer background information • Define key terms or concepts • Think about building up into your • Connect your subject to reader topic, into your argument interests or values • Start with a quotation or statement • The key with all of these is you have to provoke interest to use them, not just write one • Start with an anecdote sentence and be done • Ask a question (be careful) • Jump right into the topic BACKGROUND INFORMATION • You just have to ground your reader – what are you writing about? Authors? Pieces? Anything else the reader needs to know? • You are not summarizing the entire article, the author’s life, etc. (Know your audience – have I read these essays?) • You are using this information to connect your attention getter to your argument • EVERYTHING IS CONNECTED TO EVERYTHING! THESIS • Get to your argument • What is your interpretation of the pieces? • This should not come out of nowhere – your attention getter and background information have been -
30 Rock and Philosophy: We Want to Go to There (The Blackwell
ftoc.indd viii 6/5/10 10:15:56 AM 30 ROCK AND PHILOSOPHY ffirs.indd i 6/5/10 10:15:35 AM The Blackwell Philosophy and Pop Culture Series Series Editor: William Irwin South Park and Philosophy X-Men and Philosophy Edited by Robert Arp Edited by Rebecca Housel and J. Jeremy Wisnewski Metallica and Philosophy Edited by William Irwin Terminator and Philosophy Edited by Richard Brown and Family Guy and Philosophy Kevin Decker Edited by J. Jeremy Wisnewski Heroes and Philosophy The Daily Show and Philosophy Edited by David Kyle Johnson Edited by Jason Holt Twilight and Philosophy Lost and Philosophy Edited by Rebecca Housel and Edited by Sharon Kaye J. Jeremy Wisnewski 24 and Philosophy Final Fantasy and Philosophy Edited by Richard Davis, Jennifer Edited by Jason P. Blahuta and Hart Weed, and Ronald Weed Michel S. Beaulieu Battlestar Galactica and Iron Man and Philosophy Philosophy Edited by Mark D. White Edited by Jason T. Eberl Alice in Wonderland and The Offi ce and Philosophy Philosophy Edited by J. Jeremy Wisnewski Edited by Richard Brian Davis Batman and Philosophy True Blood and Philosophy Edited by Mark D. White and Edited by George Dunn and Robert Arp Rebecca Housel House and Philosophy Mad Men and Philosophy Edited by Henry Jacoby Edited by Rod Carveth and Watchman and Philosophy James South Edited by Mark D. White ffirs.indd ii 6/5/10 10:15:36 AM 30 ROCK AND PHILOSOPHY WE WANT TO GO TO THERE Edited by J. Jeremy Wisnewski John Wiley & Sons, Inc. ffirs.indd iii 6/5/10 10:15:36 AM To pages everywhere . -
30 ROCK 106: "Tracy Does Conan" SHOOTING DRAFT 9/29/06
106 “Tracy Does Conan” by Tina Fey Directed by Adam Bernstein Executive Producers: Lorne Michaels Tina Fey JoAnn Alfano Marci Klein David Miner Broadway Video Television SHOOTING DRAFT – 9/29/06 254 West 54th St, 11th Floor New York, NY 10019 ! 2006 BY!NBC STUDIOS, INC. ! ALL RIGHTS RESERVED.! NOT TO BE DUPLICATED WITHOUT PERMISSION. ! This material is property of!NBC Studios, Inc.!and is intended solely for use by its personnel.! The sale, copying, reproduction or exploitation of this material in any form is prohibited.! Distribution or disclosure of this material to unauthorized persons is prohibited. 30 ROCK 106: "Tracy Does Conan" SHOOTING DRAFT 9/29/06 CAST LIST LIZ .............…………………………….....……………………………...…….............TINA FEY JACK………………………………………………………………...…………ALEC BALDWIN TRACY......…………….………..……..……………………………….....…..TRACY MORGAN JENNA………………………………………………………………........... JANE KRAKOWSKI KENNETH………………………………………………………….......…....JACK MCBRAYER PETE……………………………………………………………….........................SCOTT ADSIT FRANK………………………………………………………………....JUDAH FRIEDLANDER LITTLE BLUE MAN………………...………………………………………RACHEL DRATCH TOOFER………………………………………………………………...............KEITH POWELL CONAN O’BRIEN.…….…………………………………………............…...CONAN O’BRIEN DENNIS...…………………………………………………………………..…. DEAN WINTERS DR. SPACEMAN…………………………………………………………..….CHRIS PARNELL GRIZZ......…………………………………………………………………..…..............…..…TBD NURSE......……………………………..…………………………………..…..............…..…TBD FRUIT SALESMAN..…………………...………………………………………..….......RN RAO CONAN STAGE MANAGER.…….…………………………………………..............…..…TBD -
30 ROCK-Will You Go to Lunch!
30 R O C K "Will You Go To Lunch!" Written by Curtis Lofgren WGAw # 1582126 2621 Columbia Ave. Richmond CA 94804 (510)526-3452 FADE IN INT. JACK DONAGHY’S OFFICE-DAY Jack is in his office with Doctor Leo Spaceman. He is getting an EKG. Jack’s shirt is off and the doctor is placing the electrodes on Jack’s chest. The table is way too small for Jack’s body. JACK Careful, Leo! Other than my erect penis, the chest pecs are the manliest area of my body! LEO Should I be placing these on your Johnson, Mister Johnson? Jack gives Leo a spacey stare. JACK Leo, what is wrong with you? It’s Jack Donaghy. Your boss, remember? LEO Right. Sorry, I’m not my self since I got back from rehab. JACK You went to rehab? When? LEO Technically speaking, I’m still there. Is it acceptable medical etiquette to leave after you’ve administered an enema to a patient in withdrawal? JACK Unless it’s Harry Reid, of course it isn’t! Leo, get a hold of yourself! Liz walks into the office. The two men are holding an enema hose. LIZ Excuse me, boys, but I thought I was in the office of Jack Donaghy, not my writer’s room. JACK Lemon, I.... 2. Liz licks her fingertip, slaps her bottom, and utters a remarkably glib line. LIZ Ah, still got it, never lost it, I don’t care if it’s our last season! I’m going for most flashbacks in a single show! Jack hops off the table. -
Meta-Television in Entourage, Extras and 30 Rock Introduction the Last Decade Has Seen a Number Of
PREVIOUSLY ON “Cut the Shitcom”: Meta-television in Entourage, Extras and 30 Rock Toni Pape Introduction The last decade has seen a number of fictional TV series about television and film production. These television shows – including the ones to be analysed here: Entourage, Extras, and 30 Rock – relocate the process of creative revitalization in front of the camera. Meta-television, as I understand it here, then is television about the media industry and, more particularly, about the production and quality of film and television itself.1 The three above-mentioned television programs present contemporary writers, actors, directors, etc. working on movies and television shows. Especially Extras and 30 Rock offer a critical overview of how television formats are produced, and they significantly do so in a period of time during which the working conditions for television-makers have fundamentally changed. In a most general sense, the criticism that these shows purport works on two levels. First, as we will see further on, there is an explicit criticism implied in the way the TV shows at hand present the making of a TV show. Thus, there is for instance Andy Millman, the protagonist of Extras about whom I will have more to say later on, who clearly states his dissatisfaction as a disillusioned actor/writer: ANDY: I wanna do something that I’m proud of. And I won’t be proud of shouting out catch phrases in a stupid wig and funny glasses. […] So basically, I’m not going to prostitute myself anymore or my work, ok? (Extras “Orlando Bloom”, 21’30”) In a very outspoken way, the programs in question take stock of television’s outworn creative standards and its resulting mediocrity. -
A Thesis Entitled Me Want Food: a Discourse Analysis of 30 Rock By
A Thesis entitled Me Want Food: A Discourse Analysis of 30 Rock by JoAnna R. Murphy Submitted to the Graduate Faculty as partial fulfillment of the requirements for the Master of Arts Degree in Sociology Dr. Mark Sherry, Committee Chair Dr. Patricia Case, Committee Member Dr. Barbara Coventry, Committee Member Dr. Patricia R. Komuniecki, Dean College of Graduate Studies The University of Toledo December 2011 Copyright 2011, JoAnna Ruth Murphy This document is copyrighted material. Under copyright law, no parts of this document may be reproduced without the expressed permission of the author. ii An Abstract of Me Want Food: A Discourse Analysis of 30 Rock by JoAnna R. Murphy Submitted to the Graduate Faculty as partial fulfillment of the requirements for the Master of Arts Degree in Sociology The University of Toledo December 2011 Using a combination of fat studies, the social construction of the body, Foucauldian approaches to the body, and cultural sociology, this thesis examines discourses about the fat female body in 30 Rock. The body is carnal and fleshy, but it is also socially constructed; this social construction has a long and deep cultural social history, and its power is particularly apparent with regard to the devaluation of the fat female body. By combining multiple theoretical approaches, a more nuanced and sophisticated understanding of discourses about the fat body emerges – suggesting that even when shows such as 30 Rock engage with counter-hegemonic discourses about the body such as fat acceptance, they may revert to hegemonic and heteronormative standards of beauty and the fat body. iii For my partner and husband Levi who supported me and grew with me during this time. -
MASARYK UNIVERSITY Portrayal of African Americans in the Media
MASARYK UNIVERSITY FACULTY OF EDUCATION Department of English Language and Literature Portrayal of African Americans in the Media Master‟s Diploma Thesis Brno 2014 Supervisor: Author: Mgr. Zdeněk Janík, M.A., Ph.D. Bc. Lucie Pernicová Declaration I hereby declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. ........................................................ Bc. Lucie Pernicová Acknowledgement I would like to thank my supervisor Mgr. Zdeněk Janík, M.A., Ph.D. for the patient guidance and valuable advice he provided me with during the writing of this thesis. Table of Contents 1. Introduction ............................................................................................................... 5 2. Portrayal of African Americans in Films and on Television ..................................... 8 2.1. Stereotypical Images and Their Power .............................................................. 8 2.2. Basic Stereotypical Images of African Americans ............................................ 9 2.3. Stereotypical Film Portrayals of African Americans and the Arrival of the Talking Era .................................................................................................................. 12 2.4. Television Portrayals of African Americans .................................................... 14 2.4.1. The Increasing Importance of African American Viewers ....................... 17 2.4.2. Contemporary Images of African Americans .......................................... -
P-1E-I Commas Used for Other Purposes
P-1e–i Commas Used for Other Purposes Insert commas wherever necessary in the following sentences. If a sentence is correct as given, write correct. Answers to even-numbered items can be found at the back of the book. EXAMPLE When Tina Fey joined the writing team on Saturday Night Live, you may be surprised to know, ^ ^ she was the only woman on the team. 1. Tina Fey was born on May 18 1970 in Upper Darby Pennsylvania. 2. After years of training in comedy at Chicago’s Second City theater company, Fey was hired in 1997 as a writer for Saturday Night Live. 3. October 11 2006 was another important date in Fey’s life: the pilot on NBC for the situation comedy 30 Rock. 4. The characters and plot lines of 30 Rock as most of the show’s fans know grew out of Fey’s experiences at Saturday Night Live. 5. The title of the show of course is the nickname for the GE Building, home to NBC Studios in New York City. NBC’s complete address is 30 Rockefeller Plaza New York NY 10112. 6. Episodes of 30 Rock were shot however at Silvercup Studios in Long Island City New York, in the borough of Queens. 7. When Vanity Fair magazine asked Fey for her motto in May 2011, she answered “Stop reaching for the stars!” At the time, Fey had been writing, acting, producing, and caring for her first child. Her answer suggests that she was tired doesn’t it? 8. In a typical line on 30 Rock, Liz Lemon says “Check this out Jack. -
Is This Lady-Like? the Portrayal of Women's Relationship with Food in American" Working Girl" Sitcoms Between 1966 and 2017
IS THIS LADY LIKE? THE PORTRAYAL OF WOMEN’S RELATIONSHIP WITH FOOD IN AMERICAN “WORKING GIRL” SITCOMS BETWEEN 1966 TO 2017 A thesis submitted to the Kent State University Honors College in partial fulfillment of the requirements for Departmental Honors by Tristan Davis May, 2020 Thesis written by Tristan Davis Approved by _____________________________________________________________________, Advisor ____________________________________________, Chair, Department of Sociology Accepted by ___________________________________________________, Dean, Honors College ii Thesis written by Tristan Davis Approved by _____________________________________________________________________, Advisor ____________________________________________, Chair, Department of Sociology Accepted by ___________________________________________________, Dean, Honors College TABLE OF CONTENTS LIST OF TABLES…..…………………………………………………………………....iv ACKNOWLEDGMENTS……………………………………………………………......vi CHAPTER I. INTRODUCTION…………….………………………………………….1 Media Today……………………………..……………………………….2 Gender and the Media……………………………..……..……………….3 American Foodways……………..……..………………………………...4 History of working women on television………………………………...7 The current study………………………………………………………..10 II. Methods/Analysis…………………………………………….…………12 Show Selection……………………………..……………………….…..12 Procedure……………………………..………………………………....12 Sample Characteristics…………………………………………………..13 Measures………………………………………………………………...14 III. Results…………………………………………….……………………..16 Heuristic Observations……………………..………………………..…..16 Food Prevalence………………………..………………………………..17 -
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00:00:00 Music Transition Gentle, trilling music with a steady drumbeat plays under the dialogue. 00:00:01 Promo Promo Speaker: Bullseye with Jesse Thorn is a production of MaximumFun.org and is distributed by NPR. [Music fades out.] 00:00:11 Jesse Host Coming to you from my house, in Los Angeles: it’s Bullseye. I’m Thorn Jesse Thorn. 00:00:15 Music Transition “Huddle Formation” from the album Thunder, Lightning, Strike by The Go! Team. A fast, upbeat, peppy song. Music plays as Jesse speaks, then fades out. 00:00:23 Jesse Host Well, folks! What you’re about to hear is an interview with Tina Fey and Robert Carlock—two of my actual comedy heroes. They co- created 30 Rock, of course: a show that revolutionized TV comedy. A show with more great jokes per minute than basically anything that came before it. A show that still might be the funniest thing ever to run on TV. [Music fades out.] And a show that, for better or worse, immortalized the phrase: 00:00:49 Clip Clip Music: A chiming note. Liz Lemon: [Wistfully.] I want to go to there. 00:00:51 Jesse Host After it ended in 2011, Fey and Carlock followed up 30 Rock with Unbreakable Kimmy Schmidt. You know that show, right? The sitcom about a woman who spent much of her childhood captive in a bunker run by a cult leader? It’s also hilarious and brilliant. 00:01:07 Sound Transition Music swells and fades. Effect 00:01:08 Clip Clip Titus Andromedon: The past is not a root beer, Kimmy Schmidt! Kimmy Schmidt: I don’t care! I spent 15 years in that bunker eating beans out of a Florida Marlins cap! The Marlins, Titus! [Titus gasps in shock.] Kimmy: There! That noise! The way you’re looking at me! Like I’m a freak! [Announcing.] Step right up and see the mole woman! She made a pet cat out of dryer lint and Gerstner’s bag.