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Glee: Uma Transmedia Storytelling E a Construção De Identidades Plurais
UNIVERSIDADE FEDERAL DA BAHIA INSTITUTO DE HUMANIDADES, ARTES E CIÊNCIAS PROGRAMA MULTIDISCIPLINAR DE PÓS-GRADUAÇÃO EM CULTURA E SOCIEDADE ROBERTO CARLOS SANTANA LIMA GLEE: UMA TRANSMEDIA STORYTELLING E A CONSTRUÇÃO DE IDENTIDADES PLURAIS Salvador 2012 ROBERTO CARLOS SANTANA LIMA GLEE: UMA TRANSMEDIA STORYTELLING E A CONSTRUÇÃO DE IDENTIDADES PLURAIS Dissertação apresentada ao Programa Multidisciplinar de Pós-graduação, Universidade Federal da Bahia, como requisito parcial para obtenção do título de mestre em Cultura e Sociedade, área de concentração: Cultura e Identidade. Orientador: Prof. Dr. Djalma Thürler Salvador 2012 Sistema de Bibliotecas - UFBA Lima, Roberto Carlos Santana. Glee : uma Transmedia storytelling e a construção de identidades plurais / Roberto Carlos Santana Lima. - 2013. 107 f. Inclui anexos. Orientador: Prof. Dr. Djalma Thürler. Dissertação (mestrado) - Universidade Federal da Bahia, Faculdade de Comunicação, Salvador, 2012. 1. Glee (Programa de televisão). 2. Televisão - Seriados - Estados Unidos. 3. Pluralismo cultural. 4. Identidade social. 5. Identidade de gênero. I. Thürler, Djalma. II. Universidade Federal da Bahia. Faculdade de Comunicação. III. Título. CDD - 791.4572 CDU - 791.233 TERMO DE APROVAÇÃO ROBERTO CARLOS SANTANA LIMA GLEE: UMA TRANSMEDIA STORYTELLING E A CONSTRUÇÃO DE IDENTIDADES PLURAIS Dissertação aprovada como requisito parcial para obtenção do grau de Mestre em Cultura e Sociedade, Universidade Federal da Bahia, pela seguinte banca examinadora: Djalma Thürler – Orientador ------------------------------------------------------------- -
The Glee News
Inside:The Times of Glee Fox to end ‘Glee’? Kurt Hummel recieves great reviews on his The co-creator of Fox’s great acting, sining, and “Glee” has revealed dancing in his debut “Funny Girl” star Rachel Berry is photographed on the streets of New York plans to end the series, role of “Peter Pan”. walking five dogs. She will soon drop the news about her dog adoption Us Weekly reports. Ryan event. Murphy told reporters Wednesday in L.A. that the musical series will New meaning to “dog eats end its run next year after six seasons. The end of the show ap- dog” business pears to be linked to the Rising actors Berry and Hummel host Brod- death of Cory Monteith, one of its stars. Chris Colfer expands way themed dog show In the streets of New York, happy to be giving back. “After the emotional his talent from simple the three-legged dog to the Rachel uncertainly leads mother and her son. The three friends share a memorial episode for an actor and musician a dozen dogs on leads group hug, happily. Monteith and his char- to a screenplay wiriter through the street. Blaine Sam suggests to Mercedes acter Finn Hudson aired and Artie have positioned that they give McCo- “Old Dog New Tricks” is as well. last week, Murphy said themselves among some naughey to someone at the written by Chris Colfer, who it’s been very difficult to event, but Mercedes tells lunching papparazi, and claims his “two favorite move on with the show,” him to not bother - they’re loudly announce her arriv- cording things in life are animals the story reports. -
US, JAPANESE, and UK TELEVISUAL HIGH SCHOOLS, SPATIALITY, and the CONSTRUCTION of TEEN IDENTITY By
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by British Columbia's network of post-secondary digital repositories BLOCKING THE SCHOOL PLAY: US, JAPANESE, AND UK TELEVISUAL HIGH SCHOOLS, SPATIALITY, AND THE CONSTRUCTION OF TEEN IDENTITY by Jennifer Bomford B.A., University of Northern British Columbia, 1999 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ENGLISH UNIVERSITY OF NORTHERN BRITISH COLUMBIA August 2016 © Jennifer Bomford, 2016 ABSTRACT School spaces differ regionally and internationally, and this difference can be seen in television programmes featuring high schools. As television must always create its spaces and places on the screen, what, then, is the significance of the varying emphases as well as the commonalities constructed in televisual high school settings in UK, US, and Japanese television shows? This master’s thesis considers how fictional televisual high schools both contest and construct national identity. In order to do this, it posits the existence of the televisual school story, a descendant of the literary school story. It then compares the formal and narrative ways in which Glee (2009-2015), Hex (2004-2005), and Ouran koukou hosutobu (2006) deploy space and place to create identity on the screen. In particular, it examines how heteronormativity and gender roles affect the abilities of characters to move through spaces, across boundaries, and gain secure places of their own. ii TABLE OF CONTENTS Abstract ii Table of Contents iii Acknowledgement v Introduction Orientation 1 Space and Place in Schools 5 Schools on TV 11 Schools on TV from Japan, 12 the U.S., and the U.K. -
Network TEN – RADIO SCRIPT
Network TEN – RADIO SCRIPT PROGRAMME GLEE CAST RADIO VERSIONS / DUR ALL VERSIONS. 30-45s PRODUCER ANDREW GARRICK: 0416 026 408 SUE SYLVESTER SOURCE AUDIO JANE LYNCH AUDIO TEN'S GLEE PROMO TAKE 1. [BEEP] OKAY SUE… ENG SUE WAIT A MOMENT…SNIFFS THE AIR. I CAN SMELL SYLVESTER SOMETHING IN HERE. AUDIO UMMM ENG SUE HAVE YOU HAD A GEEK HERE IN THE BOOTH? SYLVESTER AUDIO UMM, YEAH ENG SUE OKAY, LET ME STOP YOU THERE, BUTTON PUSHER. I SYLVESTER DON'T DO THIS. I DON'T GET IN CRAMPED SPACES WHERE PEOPLE WHO ARE BELOW ME HAVE BEEN. I DON'T SIT IN PHONE BOXES WITH MY GARDNER JORGE AND I DON'T DO THIS. AUDIO AHHH..OKAY. ENG SUE YOU DO IT. I WILL NOT BE A PART OF THIS…DISRESPECT. SYLVESTER AUDI HIT NEW SERIOUS GLEE. TONIGHT, ON TEN. ENGINEER SUE SERIOUSGLEE SYLVESTER Network TEN – RADIO SCRIPT FINN HUDSON SOURCE AUDIO CORY MONTEITH FEMALE TEN'S GLEE PROMO TAKE 1. [BEEP] AUDIO ENG FINN OKAY. THANKS. HI AUSTRALIA, IT'S FINN HUSON HERE, HUDSON FROM TEN'S NEW SHOW GLEE. FEMALE IT'S REALLY GREAT, AND I CAN ONLY TELL YOU THAT IT'S FINN COOL TO BE A GLEEK. I'M A GLEEK, YOU SHOULD BE TOO. HUDSON FEMALE OKAY, THAT'S PRETTY GOOD FINN. CAN YOU MAYBE DO IT AUDIO WITH YOUR SHIRT OFF? ENG FINN WHAT? HUDSON FEMALE NOTHING. AUDIO ENG FINN OKAY… HUDSON FEMALE MAYBE JUST THE LAST LINE AUDIO ENG FINN OKAY. UMM. GLEE – 730 TONIGHT, ON TEN. SERIOUSGLEE HUDSON FINN OKAY. -
14. Swan Song
LISA K. PERDIGAO 14. SWAN SONG The Art of Letting Go in Glee In its five seasons, the storylines of Glee celebrate triumph over adversity. Characters combat what they perceive to be their limitations, discovering their voices and senses of self in New Directions. Tina Cohen-Chang overcomes her shyness, Kurt Hummel embraces his individuality and sexuality, Finn Hudson discovers that his talents extend beyond the football field, Rachel Berry finds commonality with a group instead of remaining a solo artist, Mike Chang is finally allowed to sing, and Artie Abrams is able to transcend his physical disabilities through his performances.1 But perhaps where Glee most explicitly represents the theme of triumph over adversity is in the series’ evasion of death. The threat of death appears in the series, oftentimes in the form of the all too real threats present in a high school setting: car accidents (texting while driving), school shootings, bullying, and suicide. As Artie is able to escape his wheelchair to dance in an elaborate sequence, if only in a dream, the characters are able to avoid the reality of death and part of the adolescent experience and maturation into adulthood. As Trites (2000) states, “For many adolescents, trying to understand death is as much of a rite of passage as experiencing sexuality is” (p. 117). However, Glee is forced to alter its plot in season five. The season begins with a real-life crisis for the series; actor Cory Monteith’s death is a devastating loss for the actors, writers, and producers as well as the series itself. -
Drama Audition Male/Female Junior Monologues
Drama Audition Male/Female Junior Monologues Northmead Creative & Performing Arts High School Classical and contemporary audition pieces. Imagine, Endeavour , A c h i e v e Northmead CAPAHS Campbell Street Northmead N S W 2 1 5 2 02 96304116 P r i n c i p a l - N . V a z q u e z Northmead Creative & Performing Arts High- Drama Audition The following pieces have been chosen from standard editions of the works. You may use the equivalent monologue from a different edition of the play, for example, if you have access to a different edition of the Shakespeare plays. For translated works, we have chosen a particular translation. However, you may use another translation if that is the version available to you. If you cannot access the Australian plays through your local library, bookshop or bookshops on our suggested list, published editions of the Australian plays are generally available through Currency Press. Audition Process You will be required to choose one monologue from the list provided to perform. Please note the delivery time of a monologue may vary depending on your interpretation of the chosen piece. Usual estimated time is between three to eight minutes. So please make sure your monologue is within this time frame. You may be asked to deliver your chosen piece more than once. You will also be tested for improvisation skills. So be prepared to use your imagination and creativity. A script may be handed to you during the audition. So be prepared for a cold read and once again use your imagination in showing how you would interpret the script reading. -
Queer Identities and Glee
IDENTITY AND SOLIDARITY IN ONLINE COMMUNITIES: QUEER IDENITIES AND GLEE Katie M. Buckley A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of Master of Music August 2014 Committee: Katherine Meizel, Advisor Kara Attrep Megan Rancier © 2014 Katie Buckley All Rights Reserved iii ABSTRACT Katherine Meizel, Advisor Glee, a popular FOX television show that began airing in 2009, has continuously pushed the limits of what is acceptable on American television. This musical comedy, focusing on a high school glee club, incorporates numerous stereotypes and real-world teenage struggles. This thesis focuses on the queer characteristics of four female personalities: Santana, Brittany, Coach Beiste, and Coach Sue. I investigate how their musical performances are producing a constructive form of mass media by challenging hegemonic femininity through camp and by producing relatable queer female role models. In addition, I take an ethnographic approach by examining online fan blogs from the host site Tumblr. By reading the blogs as a digital archive and interviewing the bloggers, I show the positive and negative effects of an online community and the impact this show has had on queer girls, allies, and their worldviews. iv This work is dedicated to any queer human being who ever felt alone as a teenager. v ACKNOWLEDGMENTS I would like to extend my greatest thanks to my teacher and advisor, Dr. Meizel, for all of her support through the writing of this thesis and for always asking the right questions to keep me thinking. I would also like to thank Dr. -
Kurt Hummel's Language Features in Glee Television
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI KURT HUMMEL’S LANGUAGE FEATURES IN GLEE TELEVISION SERIES SEASON 1: A SOCIOLINGUISTIC ANALYSIS A SARJANA PENDIDIKAN THESIS Presented as Partial Fulfillment of the Requirements to Obtain the Sarjana Pendidikan Degree in English Language Education By Yustina Rostyaningtyas Student Number: 131214113 ENGLISH LANGUAGE EDUCATION STUDY PROGRAM DEPARTMENT OF LANGUAGE AND ARTS EDUCATION FACULTY OF TEACHERS TRAINING AND EDUCATION SANATA DHARMA UNIVERSITY YOGYAKARTA 2017 i PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI “There is no substitute for hard work.” Thomas A. Edison This thesis is dedicated to: Antonius Wiryono, Yuliana Saryati, and myself iv PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI ABSTRACT Rostyaningtyas, Yustina. 2017. Kurt Hummel’s Language Features in Glee Television Series Season 1: A Sociolinguistic Analysis. Yogyakarta: English Language Education Study Program, Sanata Dharma University. The use of language by individuals is influenced by many factors. Gender is one factor that influences the use of language. In this research, gender is seen to be different from sex. It is seen as a social construction rather than as a fixed category. As a result, women and men do not stick to one language style but change it based on their social context. Therefore, the researcher was interested in analyzing the women’s language used by a feminine man named Kurt Hummel in Glee Television Series Season 1. In conducting the research, a research question was formulated: What women’s language features does Kurt Hummel use in his speech in Glee Television Series Season 1? The research was qualitative research in which discourse analysis was employed to analyze the data. -
"Glee: Silly Love Songs (#2.12)" (2011) Santana Lopez: Please. I've Had Mono So Many Times It Turned Into Stereo
"Glee: Silly Love Songs (#2.12)" (2011) Santana Lopez: Please. I've had mono so many times it turned into stereo. Santana Lopez: I've kissed Finn, and can I just say: NOT worth a buck. I would, however, pay $100 to jiggle one of his man boobs. Santana Lopez: Finn only wears that gassy infant look when he feels guilty about something. Santana Lopez: I'll just marry an NFL player. They're super reliable. Santana Lopez: I just try to be really, really honest with people when I think that they suck. Santana Lopez: That's how we do it in Lima Heights. "Glee: Sectionals (#1.13)" (2009) Mercedes Jones: I thought you and Puck were dating? Santana Lopez: Sex is not dating. Brittany: Yeah, if it was, Santana and I would be dating. Santana Lopez: Look, we may still be Cheerios, but neither of us ever gave Sue the set list. Brittany: Well... I did. But I didn't know what she was gonna do with it. Santana Lopez: Okay, look... believe what you want, but no one's forcing me to be here. And if you tell anyone this, I'll deny it - but I like being in Glee Club. It's the best part of my day, okay? I wasn't gonna go and mess it up. Rachel Berry: I believe you. Santana Lopez: Sex is not dating. Brittany: If it was, Santana and I would be dating. Santana Lopez: Sex is not dating. Brittany Pierce: If it were, Santana and I would be dating. -
Glee, Flash Mobs, and the Creation of Heightened Realities
Mississippi State University Scholars Junction University Libraries Publications and Scholarship University Libraries 9-20-2016 Glee, Flash Mobs, and the Creation of Heightened Realities Elizabeth Downey Mississippi State University, [email protected] Follow this and additional works at: https://scholarsjunction.msstate.edu/ul-publications Recommended Citation Downey, Elizabeth M. "Glee, Flash Mobs, and the Creation of Heightened Realities." Journal of Popular Film & Television, vol. 44, no. 3, Jul-Sep2016, pp. 128-138. EBSCOhost, doi:10.1080/ 01956051.2016.1142419. This Article is brought to you for free and open access by the University Libraries at Scholars Junction. It has been accepted for inclusion in University Libraries Publications and Scholarship by an authorized administrator of Scholars Junction. For more information, please contact [email protected]. Glee and Flash Mobs 1 Glee, Flash Mobs, and the Creation of Heightened Realities In May of 2009 the television series Glee (Fox, 2009-2015) made its debut on the Fox network, in the coveted post-American Idol (2002-present) timeslot. Glee was already facing an uphill battle due to its musical theatre genre; the few attempts at a musical television series in the medium’s history, Cop Rock (ABC, 1990) and Viva Laughlin (CBS, 2007) among them, had been overall failures. Yet Glee managed to defeat the odds, earning high ratings in its first two seasons and lasting a total of six. Critics early on attributed Glee’s success to the popularity of the Disney Channel’s television movie High School Musical (2006) and its subsequent sequels, concerts and soundtracks. That alone cannot account for the long-term sensation that Glee became, when one acknowledges that High School Musical was a stand-alone movie (sequels notwithstanding). -
Glee’ Contributed by Benjy Maor Source: by Jay Michaelson from the Jewish Daily Forward
CHILDREN The Four ‘Sons’ as Characters From ‘Glee’ Contributed by Benjy Maor Source: By Jay Michaelson from the Jewish Daily Forward As it happens, the four Jewish characters in McKinley High School’s glee club map quite neatly onto the four children of the Passover Seder, and the way each of them performs his or her Jewishness shines a different light on American Jewish identity, and on the themes of the Passover holiday. Rachel Berry (Lea Michele) is the “Wise Child” — to a fault. She endlessly touts her Jewishness in one way or another, from Barbra Streisand songs to protests at Christmastime. She is also an irritating control freak, just like the unctuous Wise Child, who asks annoying, detailed questions about the statutes, laws and ordinances that God has commanded. The Haggadah obviously wants us to praise this kid, but most years I just want to slap him. Just like Rachel, he’s a know-it-all and a drama queen. “Look at me!” the Wise Child brags, just as Rachel does. Look how smart and good I am! Like Rachel in her goody-two-shoes sweaters, the Wise Child is intolerable. Rachel is a quintessential Jewish stereotype — smart, Semitic-looking, Magen-David-wearing — and yet she performs her Jewishness in the same way she performs her many solos on the show: in your face, turned up to 11. The Wise Child is the same way. Noah “Puck” Puckerman (Mark Salling) is the “Wicked Child.” His is the most original of the Jewishnesses on “Glee,” contradicting every stereotype that Rachel serves to uphold. -
Glee and the “Ghosting” of the Musical Theatre Canon
89 Barrie Gelles Graduate Center, City University of New York, US Glee and the “Ghosting” of the Musical Theatre Canon The most recent, successful intersection of media culture and the Broadway musical is the run-away hit Glee. Although Glee features other music genres as often as it does songs from the musical theatre canon, the use of the latter genre offers a particularly interesting opportunity for analysis as it blends two forms of popular culture: the Broadway musical and a hit television show. Applying the concept of “ghosting,” as defined in Marvin Carlson’s The Haunted Stage, I propose that the use of the musical theatre canon in Glee can sometimes offer a more complex reading of a given plot point and/or of character development. This inquiry will consider where the ghosting of the original Broadway musical enhances plot and character within Glee, and where it fails to do so. What is there to gain from doubled layers of implications when these songs are performed? What is risked by ignoring the “ghosts” of musicals past? Finally, and tangentially related, how is Glee reframing the consumption of musical theatre? Barrie Gelles is a fellowship student in the PhD Program in Theatre at The Graduate Center at CUNY. She completed her Masters, in Theatre, at Hunter College and has a BA from Sarah Lawrence College. In addition to Barrie’s scholarly pursuits, she directs theatre throughout New York City. Alright guys, we’re doing a new number for sectionals. I know that pop songs have sort of been our signature pieces, but I did a little research on past winners and it turns out that judges like songs that are more accessible, stuff they know, standards, Broadway.