DOCSLIB.ORG

Ii Property, Mobility, and Epistemology in U.S. Women of Color Detective

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ii Property, Mobility, and Epistemology in U.S. Women of Color Detective Property, Mobility, and Epistemology in U.S. Women of Color Detective Fiction DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Julia Istomina, M.F.A. Graduate Program in English The Ohio State University 2015 Dissertation Committee: Linda Mizejewski, Advisor Lynn Itagaki Theresa Delgadillo ii Copyright by Julia Istomina 2015 iii Abstract This project explores how U.S. women of color detective fiction novels interpret and revise methods for obtaining and transmitting knowledge while operating within political and economic climates that discipline and occlude oppositional narratives, historiographies, and identifications. U.S. women of color detective fiction emerged in the early 1990s during a time when institutions began to incorporate historically marginalized perspectives, but also when American and transnational corporate initiatives sought to stigmatize and profit from poor women of color. The novels featured in this project make use of a genre that is invested in creating exceptionally intelligent and capable detectives who seek to identify and correct social injustice. In the process, these novels employ historiographic epistemologies that are typically elided in Anglo- European philosophical and narrative productions. Historiographic epistemologies are theories concerning the encoding and transmission of knowledge that also serve as mediations regarding the composition of history, testimony, and narrative. Through the use of historiographic epistemologies, U.S. women of color detective fiction novels reveal the creative and narrative-building aspects of logical reasoning employed by detective fiction and rationalist discourse more broadly. Moving from the local with Barbara Neely’s Blanche on the Lam, to the transnational with Lucha Corpi’s Black Widow’s Wardrobe and Alicia Gaspar de Alba’s ii Desert Blood: The Juárez Murders, to the global with Charlotte Carter’s Coq au Vin and Lupe Solano’s Havana Nights, this project identifies connections and distinctions among these texts that in turn enable a more nuanced understanding of how precarity is constituted through the pervasive, implicit division between domestic (white) space and public (surveillanced) space. In their use of a genre that reflects institutional and social structural alignments and in their employment of non-European epistemologies such as second sight, jazz, conocimiento, spiritual mestizaje, and public motherhood, the novels featured in this project also emphasize the fact that categories of difference are dynamic and that the uniqueness of each individual experience within the U.S. matrix of institutional and social power creates unique modes of resistance. As a result, the larger critical contribution of this project is its identification of connections between place- based, decolonial, and global womanist theories of subjecthood and space that test the predictability of the gender-race-class intersectional lens of analysis. iii Dedication This document is dedicated to Olga, Andrei, Katie, Jim, and Hugo iv Acknowledgments Completing a doctoral degree takes a village. I completed my degree because of the kind, supportive, and brilliant faculty, administrative staff, colleagues, and friends who gave me the priceless gift of their time. I am deeply indebted to my advisor, Linda Mizejewski, and to the rest of my dissertation committee: Theresa Delgadillo and Lynn Itagaki. Linda was the perfect advisor, in every capacity, and her critical contributions to the study of gender, sexuality, masculinity, and power within American popular culture and literary works were an essential component to the development of my project. Linda’s ability to creatively explore with me possible topics and critical methodologies while also steering our conversations toward identifying deliverable and meaningful goals made the three years that I have spent working on my dissertation not only productive, but also enjoyable. Her unique ability to critically interrogate texts from various vantage points inspired me to reflect on aspects of representation, difference, and identity that I never thought possible before. Her patience, attentiveness, and prompt feedback to my own writing and subsequent chapter submissions allowed me to finish my project on time while also producing a work of scholarship of which I can be proud. Lynn Itagaki provided extensive and prompt feedback that was invaluable to my dissertation scope. Lynn also took the time to work with me on achieving greater clarity v and identifying broader implications for my analysis that ultimately strengthened my thesis and turned it from an interesting case study to something that I hope will contribute to critical inquiries within feminist scholarship on intersectionality and mobility. Lynn’s scholarly interventions into the fields of Women’s, Gender, and Sexuality Studies, U.S. Multiethnic Studies, Asian American Studies continue to bring forth new insights and methodologies that are imperative to generating responses to the question of “where do we go from here?” in our contemporary moment of intersectional approaches to the study of difference and identity. I am so lucky to have had the opportunity to work with her and to learn from her. I am also incredibly lucky to have been able to work with Theresa Delgadillo, whose comparative and interdisciplinary scholarship on Chicana, ethnic, and gender studies were invaluable sources for my project. I am especially indebted to Theresa for helping me understand the concepts of conocimiento, spiritual mestizaje, and decolonial contexts for reading Mexican American women’s literary and critical productions. These approaches enhanced my understanding of thinking through border as both geographic and psychic concepts, among other important ideas. I am also grateful for the mentorship and professional guidance of my graduate mentor, Anne Jansen, who is now an Assistant Professor of English at the University of Asheville in Tennessee. Anne went above and beyond the call of duty from the beginning to the end of my graduate study at OSU to talk about possible professors with whom I might take courses, how I should structure my candidacy exam reading lists, and how to cope with the pressures of graduate study in general. I hope to model her generosity in the years to come. vi Graduate study is a five-year process that affords students the chance to work with a variety of professors and to solidify a particular field, scope, and method of inquiry for the dissertation. I would not have been able to successfully complete the project without several professors who played key roles in my academic development. First, I am grateful to Ryan Friedman, whose course on early twentieth-century film and race enabled me to learn about important critical methods and approaches that I have since applied to my research. I am grateful to Adélékè Adéẹ̀kọ́, whose course on postcolonial theory enabled me to write a paper that turned into my first publication. The course itself helped me think through ideas about gender, colonialism, and economics in ways that proved fundamental to my later project. I am also grateful to Joe Ponce, whose course on queer of color critique and literature led me, albeit late in my life, to critical and creative productions that play a key role in the underlying critical methodologies I employ in my project. I would like to take the time to thank Chadwick Allen, who helped me work through fundamental aspects of indigenous theory and literature while also serving as a mentor. I am also grateful to Brian McHale, who helped me understand how to parse historical trends in American literature while also accounting for parallel and countering interventions into canonical writers by historically underrepresented authors. I am grateful to his work on genre fiction and for his affirmation that detective fiction is “the epistemological genre par excellance.” I am extremely grateful for the guidance and mentorship of David Herman, who helped me think about narrative and form in new and textured ways. vii I am thankful to Andreá Williams for her willingness to talk with me about my project and allowing me sit in on her course on theorizations of marriage and love in contemporary African American popular culture and literary productions. This experience helped me shape my reading of Blanche White’s (Blanche on the Lam) social and psychic resistance to white heteronormative compensatory scripts. I am grateful to Jared Gardner for allowing me to complete my pedagogical training with him in his course on popular culture. His unique ability to weave together historical context, popular culture materials, and theoretical insights showed me that there are subtle ways to achieve the teaching of critical analysis and consciousness s in the classroom. Amy Shuman was extremely helpful in providing guidance and feedback on my earlier theorizations of the politics of difference. Maurice Stevens helped me recognize the importance of getting different disciplines into the same room to think about investments in certain methodological approaches and the value of diversity with respect to disciplinary training. Claire Robertson took a chance on an English Ph.D. student in her women’s and gender studies course. This course not only helped me learn the particular critical genealogy of women’s, gender, and sexuality studies, but it also enabled me to connect with students from other disciplines
Load more

Recommended publications
  • A Dangerous Summer
    theHemingway newsletter Publication of The Hemingway Society | No. 73 | 2021 As the Pandemic Ends Yet the Wyoming/Montana Conference Remains Postponed Until Lynda M. Zwinger, editor 2022 the Hemingway Society of the Arizona Quarterly, as well as acquisitions editors Programs a Second Straight Aurora Bell (the University of Summer of Online Webinars.… South Carolina Press), James Only This Time They’re W. Long (LSU Press), and additional special guests. Designed to Confront the Friday, July 16, 1 p.m. Uncomfortable Questions. That’s EST: Teaching The Sun Also Rises, moderated by Juliet Why We’re Calling It: Conway We’ll kick off the literary discussions with a panel on Two classic posters from Hemingway’s teaching The Sun Also Rises, moderated dangerous summer suggest the spirit of ours: by recent University of Edinburgh A Dangerous the courage, skill, and grace necessary to Ph.D. alumna Juliet Conway, who has a confront the bull. (Courtesy: eBay) great piece on the novel in the current Summer Hemingway Review. Dig deep into n one of the most powerful passages has voted to offer a series of webinars four Hemingway’s Lost Generation classic. in his account of the 1959 bullfighting Fridays in a row in July and August. While Whether you’re preparing to teach it rivalry between matadors Antonio last summer’s Houseguest Hemingway or just want to revisit it with fellow IOrdóñez and Luis Miguel Dominguín, programming was a resounding success, aficionados, this session will review the Ernest Hemingway describes returning to organizers don’t want simply to repeat last publication history, reception, and major Pamplona and rediscovering the bravery year’s model.
    [Show full text]
  • Re-Mixing Old Character Tropes on Screen: Kerry Washington, Viola Davis, and the New Femininity by Melina Kristine Dabney A
    Re-mixing Old Character Tropes on Screen: Kerry Washington, Viola Davis, and the New Femininity By Melina Kristine Dabney A thesis submitted to the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master of Arts Department of Film Studies 2017 This thesis entitled: Re-mixing Old Character Tropes on Screen: Kerry Washington, Viola Davis, and the new Femininity written by Melina Kristine Dabney has been approved for the Department of Film Studies ________________________________________________ (Melinda Barlow, Ph.D., Committee Chair) ________________________________________________ (Suranjan Ganguly, Ph.D., Committee Member) ________________________________________________ (Reiland Rabaka, Ph.D., Committee Member) Date: The final copy of this thesis has been examined by the signatories, and we Find that both the content and the form meet acceptable presentation standards Of scholarly work in the above mentioned discipline. Dabney, Melina Kristine (BA/MA Film Studies) Re-mixing Old Character Tropes on Screen: Kerry Washington, Viola Davis, and the New Femininity Thesis directed by Professor Melinda Barlow While there is a substantial amount of scholarship on the depiction of African American women in film and television, this thesis exposes the new formations of African American femininity on screen. African American women have consistently resisted, challenged, submitted to, and remixed racial myths and sexual stereotypes existing in American cinema and television programming. Mainstream film and television practices significantly contribute to the reinforcement of old stereotypes in contemporary black women characters. However, based on the efforts of African American producers like Shonda Rhimes, who has attempted to insert more realistic renderings of African American women in her recent television shows, black women’s representation is undergoing yet another shift in contemporary media.
    [Show full text]
  • "ZACK ATTACK" Written by Brittany Ashley "Happy Endings" Spec
    "ZACK ATTACK" Written by Brittany Ashley "Happy Endings" spec INT. ROSALITAS - DAY BRAD, ALEX, DAVE, PENNY, JANE and MAX sit in their booth at Rosalita’s. Max, surrounded by birthday presents, opens one wrapped in newspaper. Much to his dismay, it’s the same exact shirt that Dave is wearing. MAX Another v-neck... from Dave. DAVE Hey man, you’re welcome. Max opens another gift, covered in a shitload of glitter. MAX Saved by the Bell boxed DVD set! Thank you, Penny! PENNY When we dated in college, I always thought we were like the Zack Morris and Kelly Kapowski of the quad. ALEX Aww, you guys! PENNY That is, until you lost your virginity to my RA, Zach Mores... ALEX Ehh... Roof stoof. MAX (remembering) Oh yeah, that dude was a smoke show, had a mouth like--- PENNY (interrupting, Shakespearean-style) Ah yes, a twist of irony that Past Penny wasn’t prepared for. But Present Penny finds quite charming. JANE Well it’s clear that I’d be the Jessi Spano. Top of the class, unstoppable dancer and that brief addiction to caffeine pills. 2. BRAD Caffeine pills, really? JANE I HAD TO PASS MY CALC MIDTERM, you don’t know the type of pressure I was under! I was so... scared. BRAD That makes me Slater, right, Mama? MAX I was thinking more like the Lisa Turtle. Alex, Dave, Penny, Max and Jane all nod. BRAD Why? Because I’m black? Alex, Dave, Penny, Max and Jane all hem and haw. ALEX Because you’re stylish.
    [Show full text]
  • Materialist Feminism
    9­ / MATERIALIST FEMINISM A Reader in Class, Difference, and Women's Lives Edited by Rosemary Hennessy and Chrys Ingraham ROUTLEDGE New York & London Introduction Reclaiming Anticapitalist Feminism Rosemary Hennessy and Chrys Ingraham THE NEED FOR ClASS ANALYSIS OF WOMEN'S DIFFERENT LIVES We see this reader as a timely contribution to feminist struggle for transformative social change, a struggle which is fundamentally a class war over resources, knowledge, and power. Currently the richest 20 percent of humanity garners 83 percent of global income, while the poorest 20 percent of the world's people struggles to survive on just 1 percent of the global income (Sivard 1993; World Bank 1994). During the 1990s, as capitalism triumphantly secures its global reach, anticommunist ideologies hammer home socialism's inherent failure and the Left increasingly moves into the professional middle class. many of western feminism's earlier priorities-commitment to social transformation, attention to the political economy of patriarchy, analysis of the perva­ sive social structures that link and divide women~have been obscured or actively dismissed. Various forms of feminist cultural politics that take as their starting point gender, race, class, sexuality, or coalitions among them have increasingly displaced a systemic perspective that links the battle against women's oppression to a fight against capitalism. The archive collected in Materialist Feminism: A Reader in Class, Difference, and Women's Lives is a reminder that despite this trend feminists have continued to find in historical materialism a powerful theoretical and political resource. The tradi- . tion of feminist engagement with marxism emphasizes a perspective on social life that refuses to separate the materiality of meaning, identity, the body, state, or nation from the requisite division of labor that undergirds the scramble for profits in capitalism's global system.
    [Show full text]
  • The Sisters in Crime Quarterly December 2020
    inSinC the Sisters in Crime quarterly December 2020 inSinC • December 2020 • Page 1 Mission Statement Promote the ongoing advancement, recognition, and professional development of women crime writers. inSinC The Sisters in Crime Quarterly • December 2020 Past Presidents 2020 — 21 Board Members Sara Paretsky ...............................1987—88 Nancy Pickard ..............................1988—89 S.G. Wong, President Susan Dunlap ...............................1989—90 Stephanie Gayle, Vice President Margaret Maron ...........................1990—91 Carolyn G. Hart ...........................1991—92 Faye Snowden, Secretary P. M. Carlson ................................1992—93 Jacki York, Treasurer & ACA Coordinator Linda Grant ..................................1993—94 V.M. (Valerie) Burns Grants & Barbara D'Amato .........................1994—95 Award Coordinator Elaine Raco Chase .......................1995—96 Annette Meyers ...........................1996—97 Tracee de Hahn, Membership Sue Henry ....................................1997—98 Development Liaison Medora Sale .................................1998—99 Kellye Garrett, Member at Large Barbara Burnett Smith.................1999—00 Edwin Hill, Education Liaison Claire Carmichael McNab ............2000—01 Eve K. Sandstrom ........................2001—02 Cynthia Kuhn, Monitoring Project Liaison/ Kate Flora ....................................2002—03 Authors Coalition Representative Kate Grilley ..................................2003—04 Vanessa Lillie, Publicity Chair Patricia Sprinkle
    [Show full text]
  • Black Women, Natural Hair, and New Media (Re)Negotiations of Beauty
    “IT’S THE FEELINGS I WEAR”: BLACK WOMEN, NATURAL HAIR, AND NEW MEDIA (RE)NEGOTIATIONS OF BEAUTY By Kristin Denise Rowe A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of African American and African Studies—Doctor of Philosophy 2019 ABSTRACT “IT’S THE FEELINGS I WEAR”: BLACK WOMEN, NATURAL HAIR, AND NEW MEDIA (RE)NEGOTIATIONS OF BEAUTY By Kristin Denise Rowe At the intersection of social media, a trend in organic products, and an interest in do-it-yourself culture, the late 2000s opened a space for many Black American women to stop chemically straightening their hair via “relaxers” and begin to wear their hair natural—resulting in an Internet-based cultural phenomenon known as the “natural hair movement.” Within this context, conversations around beauty standards, hair politics, and Black women’s embodiment have flourished within the public sphere, largely through YouTube, social media, and websites. My project maps these conversations, by exploring contemporary expressions of Black women’s natural hair within cultural production. Using textual and content analysis, I investigate various sites of inquiry: natural hair product advertisements and internet representations, as well as the ways hair texture is evoked in recent song lyrics, filmic scenes, and non- fiction prose by Black women. Each of these “hair moments” offers a complex articulation of the ways Black women experience, share, and negotiate the socio-historically fraught terrain that is racialized body politics
    [Show full text]
  • Dave Gurney #7) John Verdon (Counterpoint/March 1St 2021)
    Meet Our Authors We will never be able to replicate the intimacy of an in-person fair, but we're giving it our best shot! Click on an image below to hear directly from some of our authors. F Film & TV FALLOUT: Lesley Blume’s impeccably reported, fast-paced account of the reporter who scooped the world in the wake of Hiroshima’s atrocities is now under option with Ink Factory (The Night Manager) and Endeavor Content, for development as a scripted series. Simultaneous efforts are being made to develop as a docuseries with an award-winning team of filmmakers whose names we cannot yet release. FORTY ACRES: Dwayne Alexander Smith’s bone-chilling, racially charged thriller of 2014 is now in development at Netflix as a feature film. Luke Cage creator Cheo Hodari Coker is attached to adapt the screenplay, while rapper and mogul Jay-Z will produce, along with James Lassiter and Kapital Entertainment. Deadline has more details on the adaptation in their press release. I ALMOST FORGOT ABOUT YOU: Universal has just renewed their option for an additional term, with Malcolm Lee (Girls Trip) directing, Viola Davis attached to play the lead role, and Gail Berman producing. The project is nearing final stages of development. WAITING TO EXHALE: Terry McMillan’s iconic 1992 novel, made even more famous by its 1995 feature adaptation starring Whitney Houston and Angela Bassett, is now in development as an original Television series, with Executive Producer Lee Daniels (Empire, The Butler, Precious) at the helm. Attica Locke and her sister Tembi Locke are attached to adapt.
    [Show full text]
  • JAY FUNERAL HOME FUNERAL HOME FUNERAL HOME MIAMI GARDENS Cd Cd Cd Clinton G
    SFLTIMES.COM | SOUTH FLORIDA|| TIMES | JANUARY 23 - 29, 2020 | 3B| Obituaries Jazz composer and sax player Jimmy Heath passes at 93 NEW YORK (AP) – Jimmy Heath, a long and productive career. He wrote Grammy-nominated jazz saxophonist most of the material for the Chet and composer who performed with Baker-Art Pepper album “Playboys,” such greats as Miles Davis and John recorded with everyone from Davis Coltrane before forming the popular and Coltrane to Milt Jackson and Gil family group the Heath Brothers in Evans, worked on charts for Ray middle age, has died. He was 93. Charles, and released several of his Heath's grandson Fa Mtume told The own albums. PHOTO COURTESY OF BILLBOARD.COM New York Times that he died Sunday In the 1970s, he helped found the at his home in Loganville, Ga. The Heath Brothers, which also featured JIMMY HEATH: cause of death was not immediately brothers Percy Heath on bass and Al- Recorded with everyone from Miles Davis and John Coltrane to given. bert “Tootie” Heath on drums. Their Milt Jackson and Gil Evans, worked on charts for Ray Charles, released several of Heath, a native of Philadelphia, had albums included “Marchin’ On” and his own albums, and formed the popular family group the Heath Brothers with broth- been playing jazz since the 1940s, in the Grammy-nominated “Live at the ers Percy and Tootie. the early days of bebop. He was men- Public Theater.” In 1993, he received tored by Dizzy Gillespie, idolized a Grammy nomination for his own by the National Endowment for the each of his marriages.
    [Show full text]
  • WGSS Draft Syllabus 692B Spring 2013 Ann Ferguson
    WGSS syllabus 692C Spring 2013 Topics in Feminist Theory Professor emerita Ann Ferguson Tuesdays 4-6:30 Office hours Tues 2:30-3:30, 229 Middlesex House and by appointment [email protected] Texts (available at Food for Thought Books in Amherst) 1. Linda Nicholson, ed. (1997)The Second Wave: A Reader in Feminist Theory (Routledge) 2. Rosemary Hennessy (2000) Profit and Pleasure: Sexual Identities in Late Capitalism (Routledge) 3. Rachel Alsop, Annette Fitzsimmons and Kathleen Lennon (2002) Theorizing Gender (Polity) Optional: Silvia Federici (2004) Caliban and the Witch: Women and Primitive Accumulation (Autonomedia) Eva Illouz (2012) Why Love Hurts: A Sociological Explanation (Polity) Other readings for the course available on UMass UDrive (www. udrive.oit.umass.edu/xythoswfs/webview/xythoslogin.action, password given in seminar) Class Requirements and Grading Policies There are 3 components through which the course will be graded: class participation, which includes a class report, short paper, and final term paper. The work done by each student for each of these components will be weighted as follows: class participation (including class report) 30%, short paper 30%, and final term paper 40%. A. Class Participation (30%): (1) All students will be expected to do the reading before the class for which they are assigned and to contribute to the discussion about them. This will include posting discussion questions on something in the reading for the week suitable for a class discussion. These questions should be clarified by several lines which locate the issue in the reading. They should be posted by noon Monday of the day before the seminar!! (2) The class report may done with a partner, and be chosen at the beginning of the seminar.
    [Show full text]
  • Barbara Neely Death Notice
    Barbara Neely Death Notice Walt still quick-freeze transiently while uninflammable Petey invite that Beale. Neuritic and subhedral Erl always pale representatively and forgettings his huffishness. Self-consuming Ric twit his deposals cartelized cautiously. She loved gardening, barbara neely of devin visited his career in philadelphia international affairs, with magnolia chapel funeral home south directing burial will love Jim Neely learned early that advance best paycheck is over he. Obituary Note Barbara Neely Shelf Awareness. William Neely passed away how This primary the full obituary story cost you can. Barbara Neely January 16 194 June 6 2020 death notice. Norman all about deaths in death notices may make him around her family. Barbara Neely Obituary 2014 Mullica Hill NJ South. He is survived by a wife Barbara Berkley Neely whom he married in Lynchburg VA in 1997 Also surviving is good brother Joe F Neely Joyce. This book keeps getting better results, best supporting actress. Barbara Neely the current-winning mystery novelist who created the first hand black protagonist in mainstream American publishing died earlier. Burial will baptist faith and barbara neely death notice. We serve as someone you can add content is slowly ratcheted up in both the catskills and the reading the family will be dueling in death notice. BARBARA NEELY Obituary 1926 2015 Oklahoman. Barbara Neely Jr of Clarkston Wash four grandchildren and mates. John green and family had worked at zion cemetery with current or shut down by. Her death notice, barbara showed them from work was preceded in bethel presbyterian cemetery with parts of green and.
    [Show full text]
  • Finding Aid for the Lola Alvarez Bravo Archive, 1901-1994 AG 154
    Center for Creative Photography The University of Arizona 1030 N. Olive Rd. P.O. Box 210103 Tucson, AZ 85721 Phone: 520-621-6273 Fax: 520-621-9444 Email: [email protected] URL: http://creativephotography.org Finding aid for the Lola Alvarez Bravo Archive, 1901-1994 AG 154 Finding aid updated by Meghan Jordan, June 2016 AG 154: Lola Alvarez Bravo Archive, 1901-1994 - page 2 Lola Alvarez Bravo Archive, 1901-1994 AG 154 Creator Bravo, Lola Alvarez Abstract Photographic materials (1920s-1989) of the Mexican photographer Lola Alvarez Bravo (1903 [sometimes birth date is recorded as 1907] -1993). Includes extensive files of negatives from throughout her career. A small amount of biographical materials, clippings, and publications (1901-1994) are included. The collection has been fully processed. A complete inventory is available. Quantity/ Extent 32 linear feet Language of Materials Spanish English Biographical Note Lola Álvarez Bravo was born Dolores Martínez de Anda in 1903 in Lagos de Moreno, a small city in Jalisco on Mexico's Pacific coast. She moved to Mexico City as a young child, after her mother left the family under mysterious circumstances. Her father died when she was a young teenager, and she was then sent to live with the family of her half brother. It was here that she met the young Manuel Alvarez Bravo, a neighbor. They married in 1925 and moved to Oaxaca where Manuel was an accountant for the federal government. Manuel had taken up photography as an adolescent; he taught Lola and they took pictures together in Oaxaca. Manuel also taught Lola how to develop film and make prints in the darkroom.
    [Show full text]
  • Mein Coming Out
    Episode 107 Mein Coming Out Written by Gail Lerner Directed by Jeff Melman Table Draft 10/19/10 Shooting Script 10/20/10 (pg. 1,1A,10,12,21,26,30,31) Shooting Script (Blue Rev.) 10/21/10 (pg. 13) Shooting Script (Pink Rev.) 10/21/10 SONY PICTURES TELEVISION INC. © 2010 All Rights Reserved No portion of this script may be performed, or reproduced by any means, or quoted, or published in any medium without prior written consent of SONY PICTURES TELEVISION INC. 10202 West Washington Boulevard Culver City, CA 90232 Happy Endings "Mein Coming Out" [107] a. Shooting Script 10/20/10 CAST JANE .................................................................................................... Eliza Coupe ALEX ...............................................................................................Elisha Cuthbert DAVE...........................................................................................Zachary Knighton MAX ...................................................................................................... Adam Pally BRAD .......................................................................................Damon Wayans, Jr. PENNY ...............................................................................................Casey Wilson DOUG................................................................................................. Greg Cromer HOWARD BLUM................................................................................ Alan Rachins PAULINE BLUM...............................................................................Caroline
    [Show full text]