Representations of Transgender Identities in EFL Source Materials
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Framing a Narrative of Discrimination Under the Eighth Amendment in the Context of Transgender Prisoner Health Care Sarah Halbach
Journal of Criminal Law and Criminology Volume 105 | Issue 2 Article 5 Spring 2015 Framing a Narrative of Discrimination Under the Eighth Amendment in the Context of Transgender Prisoner Health Care Sarah Halbach Follow this and additional works at: https://scholarlycommons.law.northwestern.edu/jclc Part of the Criminal Law Commons, and the Criminology Commons Recommended Citation Sarah Halbach, Framing a Narrative of Discrimination Under the Eighth Amendment in the Context of Transgender Prisoner Health Care, 105 J. Crim. L. & Criminology (2015). https://scholarlycommons.law.northwestern.edu/jclc/vol105/iss2/5 This Comment is brought to you for free and open access by Northwestern University School of Law Scholarly Commons. It has been accepted for inclusion in Journal of Criminal Law and Criminology by an authorized editor of Northwestern University School of Law Scholarly Commons. 5. HALBACH (FINAL TO PRINTER) 7/20/2016 0091-4169/15/10502-0463 THE JOURNAL OF CRIMINAL LAW & CRIMINOLOGY Vol. 105, No. 2 Copyright © 2016 by Sarah Halbach Printed in U.S.A. FRAMING A NARRATIVE OF DISCRIMINATION UNDER THE EIGHTH AMENDMENT IN THE CONTEXT OF TRANSGENDER PRISONER HEALTH CARE Sarah Halbach* This Comment looks closely at the reasoning behind two recent federal court opinions granting transgender prisoners access to hormone therapy and sex-reassignment surgery. Although both opinions were decided under the Eighth Amendment’s ban on cruel and unusual punishment, which does not expressly prohibit discrimination based on gender identity, a careful look at the courts’ reasoning suggests that they were influenced by the apparent discrimination against the transgender plaintiffs. This Comment argues that future transgender prisoners may be able to develop an antidiscrimination doctrine within the Eighth Amendment by framing their Eighth Amendment medical claims in terms of discrimination based on their transgender status. -
INCORPORATING TRANSGENDER VOICES INTO the DEVELOPMENT of PRISON POLICIES Kayleigh Smith
15 Hous. J. Health L. & Policy 253 Copyright © 2015 Kayleigh Smith Houston Journal of Health Law & Policy FREE TO BE ME: INCORPORATING TRANSGENDER VOICES INTO THE DEVELOPMENT OF PRISON POLICIES Kayleigh Smith I. INTRODUCTION In the summer of 2013, Netflix aired its groundbreaking series about a women’s federal penitentiary, Orange is the New Black. One of the series’ most beloved characters is Sophia, a transgender woman who committed credit card fraud in order to pay for her sex reassignment surgeries.1 In one of the most poignant scenes of the entire first season, Sophia is in the clinic trying to regain access to the hormones she needs to maintain her physical transformation, and she tells the doctor with tears in her eyes, “I need my dosage. I have given five years, eighty thousand dollars, and my freedom for this. I am finally who I am supposed to be. I can’t go back.”2 Sophia is a fictional character, but her story is similar to the thousands of transgender individuals living within the United States prison system.3 In addition to a severe lack of physical and mental healthcare, many transgender individuals are harassed and assaulted, creating an environment that leads to suicide and self- 1 Orange is the New Black: Lesbian Request Denied (Netflix streamed July 11, 2013). Transgender actress Laverne Cox plays Sophia on Orange is the New Black. Cox’s rise to fame has given her a platform to speak about transgender rights in the mainstream media. See Saeed Jones, Laverne Cox is the Woman We Have Been Waiting For, BUZZFEED (Mar. -
ORANGE IS the NEW BLACK Season 1 Cast List SERIES
ORANGE IS THE NEW BLACK Season 1 Cast List SERIES REGULARS PIPER – TAYLOR SCHILLING LARRY BLOOM – JASON BIGGS MISS CLAUDETTE PELAGE – MICHELLE HURST GALINA “RED” REZNIKOV – KATE MULGREW ALEX VAUSE – LAURA PREPON SAM HEALY – MICHAEL HARNEY RECURRING CAST NICKY NICHOLS – NATASHA LYONNE (Episodes 1 – 13) PORNSTACHE MENDEZ – PABLO SCHREIBER (Episodes 1 – 13) DAYANARA DIAZ – DASCHA POLANCO (Episodes 1 – 13) JOHN BENNETT – MATT MCGORRY (Episodes 1, 2, 3, 4, 5, 6, 7, 9, 10, 11, 12, 13) LORNA MORELLO – YAEL MORELLO (Episodes 1, 2, 3, 4, 5, 6, 7, 8, 10, 11, 12, 13) BIG BOO – LEA DELARIA (Episodes 1, 2, 3, 4, 5, 6, 7, 9, 10, 11, 12, 13) TASHA “TAYSTEE” JEFFERSON – DANIELLE BROOKS (Episodes 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 12, 13) JOSEPH “JOE” CAPUTO – NICK SANDOW (Episodes 1, 2, 4, 6, 7, 8, 9, 10, 11, 12, 13) YOGA JONES – CONSTANCE SHULMAN (Episodes 1, 2, 4, 5, 6, 7, 9, 10, 11, 12, 13) GLORIA MENDOZA – SELENIS LEYVA (Episodes 1, 2, 4, 5, 6, 7, 8, 9, 11, 12, 13) S. O’NEILL – JOEL MARSH GARLAND (Episodes 1, 2, 3, 4, 5, 6, 7, 9, 10, 12, 13) CRAZY EYES – UZO ADUBA (Episodes 2, 3, 4, 5, 6, 8, 9, 10, 11, 12, 13) POUSSEY – SAMIRA WILEY (Episodes 2, 3, 4, 5, 6, 7, 8, 9, 10, 12, 13) POLLY HARPER – MARIA DIZZIA (Episodes 1, 2, 3, 5, 6, 7, 8, 9, 10, 12) JANAE WATSON – VICKY JEUDY (Episodes 1, 2, 3, 4, 7, 9, 10, 11, 12, 13) WANDA BELL – CATHERINE CURTIN (Episodes 1, 2, 3, 5, 6, 7, 9, 10, 11, 13) LEANNE TAYLOR – EMMA MYLES (Episodes 2, 3, 5, 6, 7, 9, 10, 11, 12, 13) NORMA – ANNIE GOLDEN (Episodes 2, 3, 5, 6, 7, 8, 9, 11, 12, 13) ALEIDA DIAZ – ELIZABETH RODRIGUEZ -
Jodie Foster a Hollywood Prodigy
Presents JODIE FOSTER A HOLLYWOOD PRODIGY A 52’ documentary Written by Yal Sadat and directed by Camille Juza Produced by HAUT ET COURT TV and PETIT DRAGON PROVISIONAL DELIVERY: SEPTEMBER 2020 1 PITCH It’s hard to imagine a more “Hollywood” tale than that of Jodie Foster. She was practically born on a movie set. Pushed by a mother who wanted to make her a star, she comes from a world of stereotypes. And yet she is a very unusual figure in this industry. She is an intellectual who speaks French and is a confirmed Francophile. She plays complex characters that have nothing to do with the temptresses loved by American cinema. At first, she was that Lolita who fascinated the crowds and appealed to every gaze – even those of predators. But her status as this precocious young beauty almost cost her her career, before she decided to take matters into her own hands and become the most powerful actress and female director in Hollywood. How did the former child star, discovered in Disney TV movies and reinvented as a 12-year-old prostitute in Taxi Driver, manage to conquer a powerful, patriarchal industry that probably never really understood her? Too radical for the Hollywood oligarchy but too mainstream for the militant groups that reproached her for hiding her homosexuality and maintaining ties with Mel Gibson and Roman Polanski, Jodie Foster is problematic. She lived out her feminism as a lonesome cowgirl, alone against the world, settling for films that got her voice heard. It’s as if she was jealously guarding a secret. -
The Case of Rewards and Punishments
THE CASE OF REWARDS AND PUNISHMENTS: ANALYZING TELEVISUAL REPRESENTATIONS OF RACE AND GENDER IN TWO 21ST-CENTURY CRIMINAL DRAMA SERIES by Amanda Adams A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Science in Media and Communication Middle Tennessee State University May 2018 Thesis Committee: Dr. Katherine Foss, Chair Dr. Ken Blake Dr. Jane Marcellus ABSTRACT This discourse analysis examines Orange Is the New Black and How to Get Away with Murder to determine how race, gender, and intersectional positions are represented in fictional criminal justice shows of the early 21st century. The analysis determines how “rewards” and “punishments” shape the shows’ discourses on these positions, as well as what the discourses indicate about power and hegemony. The sample consists of 56 episodes from the first two seasons of each show. Results indicate that both shows call attention to certain stereotypes and inequalities related to race and gender, via tribal divisions, hyperaware stereotypes, and race-based rewards and punishments. However, they contribute to other hegemonic ideologies, including the normalization of racism, traditional female gender roles, LGBT conformity to heteronormative ideals, and power based upon socioeconomic status. Taken together, the discourses indicate that the shows are at least somewhat influenced by white, middle to upper class male hegemony. ii TABLE OF CONTENTS Page CHAPTER ONE: INTRODUCTION ………………………………………..… 1 Statement of Purpose ………………………………………..…………….... 3 Historical Background ………………………………………..…………….. 5 Race and Television ………………………………………..…………... 5 Gender and Television ………………………………………..……….... 7 Race, Gender, and Television ………………………………………..…. 9 CHAPTER TWO: LITERATURE REVIEW ………………………………… 12 Representation and Stereotypes on Prime-Time Television ……………… 12 Race/Ethnicity ……………………………………………………....… 12 Gender ………………………………………..……………………….. 16 Intersection of Race and Gender …………….…...……..…………..… 21 Representations of Criminality and Its Intersections of Race and Gender .. -
Fraudulence, Gender Non-Conformity, and Data a Dissertation SUBMITTED to the FACULTY of the UNIVERSITY O
Digitizing Difference: Fraudulence, Gender Non-Conformity, and Data A Dissertation SUBMITTED TO THE FACULTY OF THE UNIVERSITY OF MINNESOTA BY Lars Z. Mackenzie IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Jigna Desai, co-advisor Aren Aizura, co-advisor March 2019 Lars Z. Mackenzie © 2019 Acknowledgements Thank you, thank you, thank you! As many have said before me, you just can’t complete a PhD without the help of countless people supporting you. I’ve been very lucky to receive a lot of help. Thanks first to my friends. I was lucky enough to develop great friendships in this extremely cold and sometimes unfriendly state. To my pals who I’ve met or shared time with here - Emily, Laney, E.G., J., Carrie, Madison, Elizabeth, Conrad, Caitlin, Simi, Caitlin, Tia, Alanah, Charlie, Karen, Jen, Libby, Mingwei, Kristen, Rita, Angelica, Sen, Jess, Becca - I literally could not have survived without you guys. I’m also blessed to have a group of friends from way back that have turned into family - Jess, Joe, Lauren, Candace, Nieves, Sheila, and Rachel. I’m so grateful to have each of you in my life and for the connections we’ve maintained over more than a decade as we’ve grown up and away from each other. Whenever I’ve doubted this path in my life, leaning on you all has helped me keep going. I’ve received lots and lots of support from my family -- from them coming to visit me here in the middle of winter, to regular phone calls, and collective television watching via group texts. -
Television Academy
Television Academy 2014 Primetime Emmy Awards Ballot Outstanding Guest Actor In A Comedy Series For a performer who appears within the current eligibility year with guest star billing. NOTE: VOTE FOR NO MORE THAN SIX achievements in this category that you have seen and feel are worthy of nomination. (More than six votes in this category will void all votes in this category.) Photos, color or black & white, were optional. 001 Jason Alexander as Stanford Kirstie Maddie's Agent Outraged that her co-star is getting jobs, Maddie vows to fire her agent (Jason Alexander). When cowardice stops her from lowering the hammer, she seduces him. Bolstered by her "courage," Arlo, Frank and Thelma face their fears. 002 Anthony Anderson as Sweet Brown Taylor The Soul Man Revelations Boyce slips back into his old habits when he returns to the studio to record a new song. Lolli and Barton step in to keep things running smoothly at the church. Stamps and Kim are conflicted about revealing their relationship. 003 Eric Andre as Deke 2 Broke Girls And The Dumpster Sex When Deke takes Max to his place after a great first date, his “home” is nothing like she expected. Meanwhile, Caroline feels empowered – then scared for her life – after having a shady car towed from the front of their apartment building. 1 Television Academy 2014 Primetime Emmy Awards Ballot Outstanding Guest Actor In A Comedy Series For a performer who appears within the current eligibility year with guest star billing. NOTE: VOTE FOR NO MORE THAN SIX achievements in this category that you have seen and feel are worthy of nomination. -
Orange Is the New Black -Sarjassa
42 sLÄHIKUVA s3/2016 Outi Hakola /UTI(AKOLA &4 DOSENTTI !LUE JAKULTTUURINTUTKIMUS (ELSINGINYLIOPISTO VALLATTOMAT NAISET Naisen muuttuva paikka Orange Is the New Black -sarjassa Naisvankilasta kertovaa yhdysvaltalaissarja Orange Is the New Blackia on yhtäältä kiitelty monipuolisista henkilöhahmoista ja toisaalta kritisoitu rodulli- suuden normatiivisuudesta niin tuotannon kuin vastaanotonkin puolella. Kes- kustelu on usein tulkinnut henkilöhahmoja staatisina representaatioina, jolloin sarjan kerronnassa tapahtuvat liukumat ovat jääneet vähemmälle huomiolle. Sarjallisuus kuitenkin määritelee jatkuvasti uudelleen, mikä on soveliasta käytöstä naiselle ja millaisia mahdollisuuksia naisilla on, tai ei ole, rikkoa heille asetetuja sukupuolituneita ja rodullistetuja rooleja ja rajoja. Tarkastelemalla sukupuolikuvausten prosessimaisuuta analysoin naiseuden normitumista ja näiden normien kyseenalaistamista amerikkalaisessa viihteessä ja nykykultuu- rissa. Yhdysvaltalainen naisvankilasta kertova komediallinen draamasarja Orange Is the New Black (USA 2013–) on herättänyt paljon keskustelua siinä esitettyjen naisrepresentaatioiden monipuolisuudesta. Sarjan on nähty sekä rikkovan (esim. Enck & Morrissey 2015) että toistavan (esim. Caputi 2015; Najumi 2013) olemassa olevia luokkaan, sukupuoleen, etnisyyteen tai ihonväriin liittyviä stereotyyppisiä representaatioita. Sarjallisuus on osaltaan mahdollistanut erilaiset tulkinnat, sillä jaksosta toiseen eri henkilöhahmojen motivaatioita ja tavoitteita määritellään uusissa konteksteissa ja näkökulmissa. Prosessi- -
Gender Justice League
Gender Justice League CU Women & Gender Studies Program Volume 5, Issue 1 January 2014 The Gender Justice League is a Women and Gender Studies student organization. We are a small group of majors and minors committed to social justice not only in theory but in practice. Our goal is to spread awareness about and confront serious issues of inequality and oppression on campus and in the community. th In this, the 5 year anniversary for our biannual newsletter, you will hear about a variety of issues that occupy our thoughts and inspire our action.We address topics such as women’s activism in Saudi Arabia, societal viewpoints on homosexuality, fat shaming in Boulder, students and sex work, the new Back row: Brigid Igoe, Ann Price, Sophia Surage, Shannie Back row: Brigid Igoe, Ann Price, Sophia Surage, Shannie show “Orange is the New Black,” and pop culture Ebrahimian, Arlene Pace, and Betsey Yadon. inspired discussion of female sexuality, and a Ebrahimian, Arlene Pace, Betsey Yadon FrontFront Row:row: CameronCameron Elder,Elder, LindsayLindsay Heckman,Heckman, AlexisAlexis Parks.Park reflection on our obsession with body image. No Woman, No Drive I N S I D E T H I S I SSUE By Shannie Ebrahimian The vast technological advances in telecom- No Woman, No Drive munications throughout the globe allow for ever- 1 increasing relations between individuals, org- 2 The Weight of Boulder anizations, and networks. In regards to social movements, social media platforms play a critical role 3 Children’s Voices, Acceptance Heard in bolstering present day activism in both local and 4 Why I Love Orange is the New Black global spheres. -
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1 Gateway Into the Mainstream: Transgender Representation In
1 Gateway Into the Mainstream: Transgender Representation in American Visual Media In 2014, Jared Leto, bearded and besuited, accepted the Oscar for Best Supporting Actor for his role in Dallas Buyers Club. He received this award for playing a transgender woman. And yet, in his nearly two-and-a-half minute acceptance speech, he did not, at any point, acknowledge transgender people. He told the story of his mother, thanked the people who he worked with in the movie, offered his support to people in Ukraine and Venezuela, and dedicated his acceptance to the people who have died from AIDS and “those of you out there who have ever felt injustice because of who you are or who you love.” He did not mention that 29% of transgender people live in poverty. He did not mention that 47% of transgender people have experienced sexual assault. He did not mention that 40% of transgender people have attempted suicide - a rate nine times higher than that of the general US population. “Problematic, Dismissive and Fetishizing:” Casting Cisgender Actors as Transgender Characters This situation is not unique when it comes to cisgender people playing transgender characters. Rather, it is an example of the broader issues that come with these casting decisions. When transgender characters are played by people of the opposite gender, as Jared Leto did when he played transgender woman Rayon, it pushes the narrative that transgender people are not truly the gender that they identify with. In a similar situation, during the controversy surrounding Scarlett Johannson’s brief acceptance of the role of a transgender man in Rub & Tug, transgender actress Indya Moore tweeted in response, “Wen [sic] cis women play trans men you are reducing the existential experience of a trans man as playing dress up [.. -
Read Ebook {PDF EPUB} O Quarto Do Polen by Zoe Jenny
Read Ebook {PDF EPUB} O Quarto do Pólen by Zoë Jenny O Quarto do Pólen by Zoë Jenny. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 66061e96ec066485 • Your IP : 116.202.236.252 • Performance & security by Cloudflare. Meet the Team. Make Art That Sells is an international collaboration between top art agency Lilla Rogers Studio and award-winning online education provider Do What You Love. Meet the team below. Lilla Rogers (Co-Founder + Course Leader) Lilla has been in the industry for almost four decades. With a degree in fine art from San Francisco and a second degree in illustration, she spent the 1980s working as a full-time, highly successful illustrator, whose art has featured in publications including the New York Times Magazine , Vogue magazine, the Grammies, the program for Philip Glass’s new opera at Brooklyn Academy of Music and many more. She then went on to found Lilla Rogers Studio, a visionary art agency that represents over three dozen artists from around the world and has sold art for products worth over $300 million.