DOCSLIB.ORG

Open Dissertation Rev Pdf.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Open Dissertation Rev Pdf.Pdf The Pennsylvania State University The Graduate School College of the Liberal Arts “THEY TELL US WHO WE ARE, THEY TELL US WHO WE AREN’T”: GAY IDENTITY ON TELEVISION AND OFF A Thesis in Communication Arts and Sciences by Lyn J. Freymiller © 2006 Lyn J. Freymiller Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy May 2006 The thesis of Lyn J. Freymiller was reviewed and approved* by the following: Michelle A. Miller-Day Associate Professor of Communication Arts and Sciences Thesis advisor Chair of Committee Thomas W. Benson Professor of Speech Communication and Edwin Erle Sparks Professor of Rhetoric Ronald L. Jackson Associate Professor of Communication Arts and Sciences Stephanie A. Shields Professor of Psychology and Women’s Studies James P. Dillard Department Head and Professor of Communication Arts and Sciences *Signatures are on file in the Graduate School iii Abstract Recently, much has been made of the prevalence of gay characters on television, but there has been little investigation of the construction of gay identity on television. Meanwhile, these gay representations are presumed to sensitize straight viewers to gay people, but little study has focused on the responses of gay viewers to portrayals of fictional gay characters. This project consists of two studies that explore portrayals of, and gay viewer responses to, gay television characters. The studies are guided by the communication theory of identity and its tenet of identity as consisting of several interrelated dimensions including personal, relational, and communal. The first study investigates three notable television texts featuring gay and lesbian characters and analyzes how the characters are constructed on various identity dimensions. Analysis finds that gay characters are portrayed as struggling with integrating gay identity into their personhood (Six Feet Under), as committed but strained in their relationships with other gay as well as straight characters (Will & Grace), and as experiencing tensions between gay and straight community as well as within their own community (Queer as Folk). The second study involves interviews with 22 self-identifying gay, lesbian, and bisexual participants to assess their responses to portrayals of gay characters on the different identity dimensions. Results find that some respondents find television portrayals to be varied and relatable, while others find them limited and compromised. The second study also explores how interviewees sense that media portrayals have influenced their own identity formation, and finds that interviewees frequently identify an actual or possible media influence. The studies conclude that gay characters on television do have complex identities, but that more is possible in terms of varied portrayals, and also that the interaction between media portrayals of gay identity and the lived experience of gay identity could be usefully explored with people struggling with sexual identity. iv TABLE OF CONTENTS Acknowledgements…………………………………………………………………………….... vi Chapter 1. Introduction……....…………...………………………………………………...….… 1 Overview of Research Problem………...…………………………………………………….. 1 Theoretical Concerns…………………...…………………………………………………..… 2 Television and Gay Identity………...…………………………………………………...… 3 Implications of Depictions of Gay Characters for Gay People………………...………..… 7 Toward New Perspectives on Gay Television Characters and Viewers…………….………. 10 Chapter 2. Review of Related Research……….….…………………………………..……...… 13 Social Construction………………………………………………………………..………… 13 Studies of Portrayals of Gay Characters on Television…………………………..……….… 14 Identity Research………………………………………………………………..………...… 19 General Approaches and Investigations of Gay Identity……………………..………….. 19 The Communication Theory of Identity……………………………………..………...… 21 Studies Examining Media and Identity……………………………………….………….. 24 Guiding Questions………………………………………………………………..…………. 26 Chapter 3. Study One – Methods……………….……………..………………………………... 29 Selection of Texts……………………………………..…………………………………….. 30 Text One: Six Feet Under…….……..…………………………………………………… 32 Text Two: Will & Grace………..………………………………………………………………... 34 Text Three: Queer as Folk………...……………………………………………….…..… 37 Textual Analysis Procedures………………….........………………………………….….… 39 Chapter 4. Study One – Textual Analysis……………….………………………..…….………. 44 Six Feet Under………………………………………………………………..…………..… 44 Personal Level: Self-identifying as Funeral Director, and Gay Man….………………... 45 Relational Level: Coming Out of Silence…………………………….………………… 47 Communal Level: Gay and Religious……………………………….………………..… 49 Summary………………………………………………………………………………... 49 Will & Grace……………………………………………………………….……………….. 50 Will and Grace: Dependence and Resentment…….……………………………………. 51 Will and Jack: Same-Sex Sniping………………….…………………………………… 54 Summary……………………………………………………………………………...… 59 Queer as Folk………………………………………………………………………..……..... 60 The Gay World vs. the Straight World……………………………………...........…….. 61 Gay Men vs. Lesbians…………………………………………………………...……… 64 Focus on Sex vs. Focus on Relationships……………………………………...……..… 66 Summary………………………………………………………………………...……… 69 Conclusion………………………………………………………………………….……….. 69 Chapter 5. Study Two – Methods…………….……………………………….……….……….. 72 v Data Collection Decisions…………………………………………………………………… 72 Participant Recruitment………………………………...…………………………………… 73 Interviews…………………………..………………………………………………… …….. 74 Data Analysis……………...………………………………………………………...………. 77 Phase One: Open Coding………….……...…………………………………...…………. 77 Phase Two: Axial Coding………….……...……………………………..………………. 78 Chapter 6. Study Two Findings – Part One………...…………………..……...……………….. 81 Personal Level………………………………………………….......……..…………………. 82 Core Identities: Essentially Gay………….…...…………………….……………………. 82 Stereotypes: Damaging or Helpful?………....……………………..…………………….. 88 Limited Lesbian Visibility…………………..………………………………………....… 99 Relational Level………………………………..…………………..………………………. 104 General Lack of Relationships……………..…………………………………………… 105 Limitations on Relationships……………….………………………………….……….. 108 Realistic Relationships……………………..…………………………………………… 111 Communal Level……………………………..………………………………………….…. 117 Disconnected – Individually or Collectively…………………………………………… 118 Reasonable Portrayals………………………………..…………………………...…….. 126 Summary………………………………………………..………………………..…...……. 131 Chapter 7. Study Two Findings – Part Two………….…….…………………………………. 133 Recognizable Media Influence: Gay Identity………….……………….……….…………. 133 Recognizable Media Influence: Personal Identity Apart from Sexual Identity…….…..….. 139 No Recognizable Media Influence…………………………………………...………..…… 144 Summary………………...………………………………………………...…………..…… 149 Chapter 8. Discussion……….………………………………………………………………… 152 Implications…………………………………………………………………………...….… 155 Limitations……….…………………………………………………………………..…...… 159 Future Research…….………………………………………………………………..…...… 160 Conclusion…………….……………………………………………………………..……... 162 References…………………………………………………………………………………..…. 163 Appendix: Interview Guide ……….…………………………………………………….…….. 170 vi Acknowledgements I am greatly indebted to Dr. Kathryn Olson and Dr. Barry Brummett, who first opened my eyes to rhetorical criticism while I was at the University of Wisconsin – Milwaukee. At Penn State University, Dr. Thomas Benson inspired me through his demonstration of just how much was possible in the realm of rhetorical criticism. I thank Dr. Benson, Dr. Ronald Jackson, and Dr. Stephanie Shields for their crucial assistance as members of my committee and their enthusiasm for my project. I cannot express sufficient gratitude to my advisor and committee chair, Dr. Michelle Miller-Day. Her unceasing encouragement and optimism made me never lose hope that I would complete this project. Thanks, too, to my partner Mark for his support and his many calls home from work to ask, “You’re working on your dissertation, right?” Finally, I would like to express tremendous thanks to my 22 interviewees for their remarkable honesty and eloquence in describing their views on gay portrayals on television. I initially had no idea if I would be able to find a reasonable sample of interviewees for this project. The inspiring stories and perspectives of these interviewees have inspired me to make talking to members of the gay community an ongoing part of my life’s work. Chapter One: Introduction Overview of Research Problem In the first decade of the 21st century, gay and lesbian Americans live in a very mixed and controversial social and political context. Heterosexual Americans tend to be divided regarding their empathy for gay1 people as well as their support of gay rights. Major decisions related to gay rights in recent years have been extremely mixed. For while the state of Massachusetts became the first state to legalize gay marriage – via a court order – in 2003, only one year later voters in no fewer than 13 states passed constitutional amendments preventing same-sex marriage. 11 amendments passed concurrent with the November Presidential election (Wildman, 2004). Notably, these amendments were passed by extremely large margins. Same-sex marriage became a major issue in the Presidential election itself. During his first term, President George W. Bush publicly backed a federal constitutional amendment defining marriage as a union between a man and a woman. Speculation arose that Bush secured a second term in office, and received a popular vote advantage of three and one-half million votes, by riding a wave of anti-gay, or at least anti-gay marriage, sentiment (Wildman,
Load more

Recommended publications
  • The Face of AIDS – 25 Years Later Kathi's Story, P.6-7 Inside This Issue Letter from the Executive Director
    THE NOV '10- JAN '11 Vol. 21 • No. 4 www.ocasf.org VOICEa publication of AIDS Services Foundation Orange County The Face of AIDS – 25 Years Later Kathi's Story, p.6-7 Inside this issue Letter from the Executive Director FEATURES Ride for a Reason – Orange County Ride for AIDS ................ 5 The Face of AIDS: 25 Years Later ..................................................... 6-7 BOARD OF DIRECTORS The Red Ball1985: Officers Advisory Board A Night of Celebration and Remembrance ............................ 8-9 Maria Marquez, M.F.T. The Honorable President The Dorothy’s: Another Hauntingly Good Time ............ 12-13 Marilyn C. Brewer, Chair Barbara Venezia State Assembly, Vice President Retired DEPARTMENTS Mark Guillod, C.P.A. Tammie J. Arnold Letter from the Executive Director .................................................... 3 Treasurer Managing Director, PIMCO Mark Gonzales Around ASF ..................................................................................................... 4 Secretary Barbara Boxer U.S. Senator HIV in the News .......................................................................................... 10 Members Dean Corey Patron's Council .......................................................................................... 11 Executive Director, Brian Bates, C.P.A. O.C. Philharmonic Soc. Memorials & Tributes .............................................................................. 14 David W. Bennett, Ron Davies Grants & Save the Dates .......................................................................
    [Show full text]
  • Patricia Murray Patricia Clum & Patricia M
    PATRICIA MURRAY PATRICIA CLUM & PATRICIA M. MAKE-UP DESIGNER CANADIAN CITIZENSHIP & RESIDENCE / US RESIDENCE / IATSE 891 / ACFC HEAD OF DEPARTMENT FEATURE FILMS DIRECTOR/PRODUCER CAST THE ART OF RACING IN THE RAIN D: Simon Curtis Amanda Seyfried Fox 2000 Pictures P: Joannie Burstein, 2nd Unit Make-up Vancouver Patrick Dempsey, Tania Landau, Make-Up FX Artist Neal H. Moritz THE PACKAGE D: Jake Szymanski Daniel Doheny, Luke Spencer Roberts, Netflix EP: Shawn Williamson, Geraldine Viswanathan, Sadie Calvano, Brightlight Pictures & Jamie Goehring, Kevin Leeson, Eduardo Franco Red Hour Productions Haroon Saleem HOD & Make-Up FX Artist P: Ross Dinerstein, Nicky Weinstock, Ben Stiller, Anders Holm, Kyle Newacheck, Blake Anderson, Adam DeVine STATUS UPDATE D: Scott Speer Ross Lynch, Olivia Holt, Netflix P: Jennifer Gibgot, Dominic Rustam, Harvey Guillen, Famke Janssen, Offspring Entertainment & Adam Shankman, Shawn Williamson Wendi McLendon-Covey Brightlight Pictures HOD TOMORROWLAND D: Brad Bird Raffey Cassidy, Kathryn Hahn Walt Disney Pictures P: Damon Lindelof Make-Up Onset FX Supervisor Co-P: Bernie Bellew, Tom Peitzman PERCY JACKSON: D: Thor Freudenthal Missy Pyle, Yvette Nicole Brown, SEA OF MONSTERS P: Chris Columbus, Christopher Redman Fox 2000 Pictures Karen Rosenfelt, Michael Barnathan Make-Up FX Supervisor DAYDREAM NATION D: Michael Goldbach Personal Make-Up Artist to Kat Dennings Screen Siren Pictures EP: Tim Brown, Cameron Lamb HOD P: Trish Dolman, Christine Haebler, Michael Olsen, Simone Urdl THE TWILIGHT SAGA: ECLIPSE D: David Slade Ashley Greene, Bryce Dallas Howard, Summit Entertainment P: Wyck Godfrey, Greg Mooradian, Kellan Lutz Make-Up Artist Main Unit Karen Rosenfelt SLAP SHOT 2 D: Steve Boyum Stephen Baldwin, Gary Busey, Universal Pictures P: Ron French Callum Keith Rennie, Jessica Steen HOD JUST FRIENDS D: Roger Kumble Ryan Reynolds New Line Cinema P: Chris Bender, Bill Johnson, Make-Up FX Artist Michael Ohoven, J.C.
    [Show full text]
  • Queer Identities Rupturing Dentity Categories and Negotiating Meanings of Oueer
    Queer Identities Rupturing dentity Categories and Negotiating Meanings of Oueer WENDY PETERS Ce projet dPcrit sept Canadiennes qui In the article, "The Politics of constructed by available discourses shpproprient le terme "queerJ'comme InsideIOut," Ki Namaste recom- (Foucault). Below, I describe some orientation sexuelk et en explore ks mends that queer theoreticians pay of the meanings participants as- dzfirentes signt$cations. Leur identiti attention to the diversity of non- cribed to queer, and explore the et expiriencespointent rt. certaines ca- heterosexual identities. I created the ways in which queer was under- tigories sexuelles existantes comme les- following research project through stood and represented by people biennes et hitirosexuelles. my interest in queer theory and a who claim, or have claimed, queer subsequent recognition that queer, as their sexuality identity category. In the 1990s, the term "queer" gained as described in queer theory, is an The first person to email the new acceptance within poststruct- excellent description for my sexu- listserv identified herself as uralistlpostmodernist thought. In ality and gender practices. Since "Stressed!" Stressed wrote often part, this was an attempt to move queer is a term that resists a static about trying to finish her gradu- away from reproducing the hetero- definition, I was curious to see who ate-level thesis, and chose her alias sexist binary of heterosexual and ho- else was claiming queer as an iden- to reflect her current state of mind. mosexual. Queer theory contends that tity category and what it meant for She related how her claiming of in order to challenge heteronorma- them. After sending an email to queer as an identity category came tivity, we need to go beyond replac- friends and various listservs detail- through her coming-out process ing one restrictive category with an- ing my interest in starting an aca- and her reluctance to choose a sexu- other.
    [Show full text]
  • America's Closet Door: an Investigation of Television and Its Effects on Perceptions of Homosexuality
    University of Tennessee at Chattanooga UTC Scholar Student Research, Creative Works, and Honors Theses Publications 12-2014 America's closet door: an investigation of television and its effects on perceptions of homosexuality Sara Moroni University of Tennessee at Chattanooga, [email protected] Follow this and additional works at: https://scholar.utc.edu/honors-theses Part of the English Language and Literature Commons Recommended Citation Moroni, Sara, "America's closet door: an investigation of television and its effects on perceptions of homosexuality" (2014). Honors Theses. This Theses is brought to you for free and open access by the Student Research, Creative Works, and Publications at UTC Scholar. It has been accepted for inclusion in Honors Theses by an authorized administrator of UTC Scholar. For more information, please contact [email protected]. America’s Closet Door An Investigation of Television and Its Effects on Perceptions of Homosexuality Sara Moroni Departmental Thesis The University of Tennessee at Chattanooga English Project Director: Rebecca Jones, PhD. 31 October 2014 Christopher Stuart, PhD. Heather Palmer, PhD. Joanie Sompayrac, J.D., M. Acc. Signatures: ______________________________________________ Project Director ______________________________________________ Department Examiner ____________________________________________ Department Examiner ____________________________________________ Liaison, Departmental Honors Committee ____________________________________________ Chair, Departmental Honors Committee 2 Preface The 2013 “American Time Use Survey” conducted by the Bureau of Labor Statistics calculated that, “watching TV was the leisure activity that occupied the most time…, accounting for more than half of leisure time” for Americans 15 years old and over. Of the 647 actors that are series regulars on the five television broadcast networks (ABC, CBS, The CW, Fox, and NBC) 2.9% were LGBT (Lesbian, Gay, Bisexual, Transgender) in the 2011-2012 season (GLAAD).
    [Show full text]
  • Synesthetic Landscapes in Harold Pinter's Theatre
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2010 Synesthetic Landscapes in Harold Pinter’s Theatre: A Symbolist Legacy Graça Corrêa Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1645 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Synesthetic Landscapes in Harold Pinter’s Theatre: A Symbolist Legacy Graça Corrêa A dissertation submitted to the Graduate Faculty in Theatre in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2010 ii © 2010 GRAÇA CORRÊA All Rights Reserved iii This manuscript has been read and accepted for the Graduate Faculty in Theatre in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. ______________ ______________________________ Date Chair of Examining Committee Daniel Gerould ______________ ______________________________ Date Executive Officer Jean Graham-Jones Supervisory Committee ______________________________ Mary Ann Caws ______________________________ Daniel Gerould ______________________________ Jean Graham-Jones THE CITY UNIVERSITY OF NEW YORK iv Abstract Synesthetic Landscapes in Harold Pinter’s Theatre: A Symbolist Legacy Graça Corrêa Adviser: Professor Daniel Gerould In the light of recent interdisciplinary critical approaches to landscape and space , and adopting phenomenological methods of sensory analysis, this dissertation explores interconnected or synesthetic sensory “scapes” in contemporary British playwright Harold Pinter’s theatre. By studying its dramatic landscapes and probing into their multi-sensory manifestations in line with Symbolist theory and aesthetics , I argue that Pinter’s theatre articulates an ecocritical stance and a micropolitical critique.
    [Show full text]
  • The Narrative Functions of Television Dreams by Cynthia A. Burkhead A
    Dancing Dwarfs and Talking Fish: The Narrative Functions of Television Dreams By Cynthia A. Burkhead A Dissertation Submitted in Partial Fulfillment of the Requirements for the Ph.D. Department of English Middle Tennessee State University December, 2010 UMI Number: 3459290 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMT Dissertation Publishing UMI 3459290 Copyright 2011 by ProQuest LLC. All rights reserved. This edition of the work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 DANCING DWARFS AND TALKING FISH: THE NARRATIVE FUNCTIONS OF TELEVISION DREAMS CYNTHIA BURKHEAD Approved: jr^QL^^lAo Qjrg/XA ^ Dr. David Lavery, Committee Chair c^&^^Ce~y Dr. Linda Badley, Reader A>& l-Lr 7i Dr./ Jill Hague, Rea J <7VM Dr. Tom Strawman, Chair, English Department Dr. Michael D. Allen, Dean, College of Graduate Studies DEDICATION First and foremost, I dedicate this work to my husband, John Burkhead, who lovingly carved for me the space and time that made this dissertation possible and then protected that space and time as fiercely as if it were his own. I dedicate this project also to my children, Joshua Scanlan, Daniel Scanlan, Stephen Burkhead, and Juliette Van Hoff, my son-in-law and daughter-in-law, and my grandchildren, Johnathan Burkhead and Olivia Van Hoff, who have all been so impressively patient during this process.
    [Show full text]
  • My Fair Lady
    TEACHER RESOURCE GUIDE Teacher Resource Guide by Sara Cooper LINCOLN CENTER THEATER AT THE VIVIAN BEAUMONT André Bishop Adam Siegel Producing Artistic Director Hattie K. Jutagir Managing Director Executive Director of Development & Planning in association with Nederlander Presentations, Inc. presents LERNER & LOEWE’S Book and Lyrics Music Alan Jay Lerner Frederick Loewe Adapted from George Bernard Shaw’s play and Gabriel Pascal’s motion picture “Pygmalion” with Lauren Ambrose Harry Hadden-Paton Norbert Leo Butz Diana Rigg Allan Corduner Jordan Donica Linda Mugleston Manu Narayan Cameron Adams Shereen Ahmed Kerstin Anderson Heather Botts John Treacy Egan Rebecca Eichenberger SuEllen Estey Christopher Faison Steven Trumon Gray Adam Grupper Michael Halling Joe Hart Sasha Hutchings Kate Marilley Liz McCartney Justin Lee Miller Rommel Pierre O’Choa Keven Quillon JoAnna Rhinehart Tony Roach Lance Roberts Blair Ross Christine Cornish Smith Paul Slade Smith Samantha Sturm Matt Wall Michael Williams Minami Yusui Lee Zarrett Sets Costumes Lighting Sound Michael Yeargan Catherine Zuber Donald Holder Marc Salzberg Musical Arrangements Dance Arrangements Robert Russell Bennett & Phil Lang Trude Rittmann Mindich Chair Casting Hair & Wigs Production Stage Manager Musical Theater Associate Producer Telsey + Company Tom Watson Jennifer Rae Moore Ira Weitzman General Manager Production Manager Director of Marketing General Press Agent Jessica Niebanck Paul Smithyman Linda Mason Ross Philip Rinaldi Music Direction Ted Sperling Choreography Christopher Gattelli Directed by Bartlett Sher The Jerome L. Greene Foundation is the Lead Sponsor of MY FAIR LADY. Major support is also generously provided by: The Blanche and Irving Laurie Foundation • Florence Kaufman The New York Community Trust - Mary P. Oenslager Foundation Fund • The Ted & Mary Jo Shen Charitable Gift Fund The Bernard Gersten LCT Productions Fund • The Peter Jay Sharp Foundation’s Special Fund for LCT with additional support from the National Endowment for the Arts.
    [Show full text]
  • GLAAD Where We Are on TV (2020-2021)
    WHERE WE ARE ON TV 2020 – 2021 WHERE WE ARE ON TV 2020 – 2021 Where We Are on TV 2020 – 2021 2 WHERE WE ARE ON TV 2020 – 2021 CONTENTS 4 From the office of Sarah Kate Ellis 7 Methodology 8 Executive Summary 10 Summary of Broadcast Findings 14 Summary of Cable Findings 17 Summary of Streaming Findings 20 Gender Representation 22 Race & Ethnicity 24 Representation of Black Characters 26 Representation of Latinx Characters 28 Representation of Asian-Pacific Islander Characters 30 Representation of Characters With Disabilities 32 Representation of Bisexual+ Characters 34 Representation of Transgender Characters 37 Representation in Alternative Programming 38 Representation in Spanish-Language Programming 40 Representation on Daytime, Kids and Family 41 Representation on Other SVOD Streaming Services 43 Glossary of Terms 44 About GLAAD 45 Acknowledgements 3 WHERE WE ARE ON TV 2020 – 2021 From the Office of the President & CEO, Sarah Kate Ellis For 25 years, GLAAD has tracked the presence of lesbian, of our work every day. GLAAD and Proctor & Gamble gay, bisexual, transgender, and queer (LGBTQ) characters released the results of the first LGBTQ Inclusion in on television. This year marks the sixteenth study since Advertising and Media survey last summer. Our findings expanding that focus into what is now our Where We Are prove that seeing LGBTQ characters in media drives on TV (WWATV) report. Much has changed for the LGBTQ greater acceptance of the community, respondents who community in that time, when our first edition counted only had been exposed to LGBTQ images in media within 12 series regular LGBTQ characters across both broadcast the previous three months reported significantly higher and cable, a small fraction of what that number is today.
    [Show full text]
  • Sagawkit Acceptancespeechtran
    Screen Actors Guild Awards Acceptance Speech Transcripts TABLE OF CONTENTS INAUGURAL SCREEN ACTORS GUILD AWARDS ...........................................................................................2 2ND ANNUAL SCREEN ACTORS GUILD AWARDS .........................................................................................6 3RD ANNUAL SCREEN ACTORS GUILD AWARDS ...................................................................................... 11 4TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 15 5TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 20 6TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 24 7TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 28 8TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 32 9TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 36 10TH ANNUAL SCREEN ACTORS GUILD AWARDS ..................................................................................... 42 11TH ANNUAL SCREEN ACTORS GUILD AWARDS ..................................................................................... 48 12TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................
    [Show full text]
  • Download Journal
    Tuesday, February 2 Cipriani 42nd Street, NYC In the wake of the devastation brought about by the earthquake that leveled much of Haiti, the Underfashion Club has financially supported the efforts of Doctors Without Borders to provide emergency medical care to the survivors. Additionally, we applaud the efforts of so many other organizations, including K.I.D.S. (Kids In Distressed Situations,) a 25-year-old charity that has mobilized the apparel industry and already raised more than $6 million in products (clothes, socks, underwear and blankets) for the men, women and children of Haiti. Their efforts are ongoing and, in the months to come, as that country rebuilds and the news media departs, there will continue to be a need for a variety of items donated by manufacturers and retailers. If your company is is in a position to make new product donations in aid of this monumental relief effort, kindly consider contacting: 212.279.5493 / 800.266.3314 www.KIDSdonations.org The Underfashion Club, Inc. Rosa Chamides, Tom Garson and Barbara Lipton Femmy Gala Chairpersons welcome you to the FEMMY GALA 2010 HONORING FELINA LINGERIE Accepted by ROBERT ZARABI President & Chief Executive Officer _______________________________ Innovation Award Recipient BARE NECESSITIES® Accepted by NOAH WRUBEL Chief Executive Officer _______________________________ REGINA MIRACLE INTERNATIONAL Accepted by MR. Y.Y. HUNG Chairman _______________________________ Lifetime Achievement Recipient GWEN WIDELL Sr. Vice President of Merchandising WACOAL AMERICA INC. _______________________________ MACY*S Presented by ROB SMITH Executive Vice President/General Merchandise Manager Juniors, Dresses, Suits, Swim, Coats, Intimate Apparel and Kids _______________________________ Tuesday, February 2, 2010 Cipriani 42nd Street, New York City GUEST COMEDIAN HAL SPARKS Actor, comedian, musician Hal Sparks began his professional career in Chicago as a member of the famed Second City Troupe, where his quick wit and affable personality quickly gained him recognition and acclaim.
    [Show full text]
  • GAVIN SMITH Director of Photography
    REPRESENTATION : Tina Horwitz tina @vanguardeartists.com http://gavinsmithcsc.com GAVIN SMITH Director of Photography SELECTED FEATURE CREDITS A Christmas Horror Story Copperheart Productions Directors: Grant Harvey, Brett Sullivan, Steve Hoban Producer: Mark Smith, Steve Hoban Wolves Copperheart Entertainment Director: David Hayter Producers: Steve Hoban, Benedict Carver DeBug Copperheart Entertainment Director: David Hewlett Producers: Mark Smith, Steve Hoban My Awkward Sexual Adventure Phase 4 Films Director: Sean Garrity Producers: Jonas Chernick, Juliette Halgopean 388 Arletta Ave. Copperheart Entertainment Director: Randal Cole Producers: Mark Smith, Steve Hoban Ginger Snaps II Unleashed Lions Gate Films Director: Brett Sullivan Producers: Steve Hoban, John Fawcett Another Day American Zoetrope Director: Jeff Reiner Alliance Atlantis Producers: Peter Sussman, Jean Dearmeaux The Ice Men First Frame Films Director: Thom Best Producer: Rick Warden Punk Probably Hard Core Rotterdam Picture Arts Director: Mark Hesselink Producer: Mark Hesselink SELECTED TELEVISION CREDITS Young Drunk Punk Seven24/Rogers Producers: Bruce McCulloch, Susan Cavan, Jordy Randall, Tom Cox Series The Best Laid Plans PDM/CBC Producers: Brian Dennis, Peter Moss, Phyllis Platt Mini-series Combat Hospital Sienna Films/ ABC/Global Producers: Julia Sereny, Jennifer Kawaja 13 x 1hrs Series My Babysitter's A Vampire Teletoon/ Disney Producers: Brian Irving, Tom McGillis 13 x ½ hrs Series The Border I, II & III White Pine Pictures/CBC Producers: Peter Raymont, Brian
    [Show full text]
  • Trabalho De Conclusão De Curso “Homoafetividade Na TV: Análise Das Séries Queer As Folk, the L Word E Looking”4
    Intercom – Sociedade Brasileira de Estudos Interdisciplinares da Comunicação XXXVIII Congresso Brasileiro de Ciências da Comunicação – Rio de Janeiro - RJ – 4 a 7/9/2015 Homoafetividade na TV: análise do casal Brian e Justin na série Queer As Folk1 Daniel Silveira da CRUZ2 Fabio Sadao NAKAGAWA3 Universidade Federal da Bahia, Salvador, Bahia Resumo O presente artigo analisa como os relacionamentos homoafetivos são representados em séries de televisão americanas. A pesquisa toma como objeto de análise o casal Brian e Justin de Queer As Folk. Com base em diferentes teóricos, os conceitos homossexualidade, homoerotismo e o termo homoafetividade colaboram para entender as definições acerca da atração por pessoas do mesmo sexo. Além disso, lançamos mãos da literatura sobre televisão, abordando as narrativas seriadas e um breve histórico sobre os personagens gays na TV. Palavras-chave: Queer as Folk; Homoafetividade; Homossexualidade; Séries televisuais Introdução O presente artigo é um recorte da pesquisa para o Trabalho de Conclusão de Curso “Homoafetividade na TV: análise das séries Queer As Folk, The L Word e Looking”4. O estudo foi realizado com as primeiras temporadas das séries citadas a fim de responder a questão: como são representados os casais homoafetivos em séries de TV americanas? Ou seja, de que maneira os afetos entre casais homossexuais são construídos pelas narrativas serializadas americanas? Neste artigo, abordaremos a construção da homoafetividade no casal Brian Kinney e Justin Taylor usando como corpus a primeira temporada de Queer As Folk. A série lançada em 2000 foi exibida originalmente no canal Showtime, nos Estados Unidos e no canal Showcase, no Canadá. Mostra, em cinco temporadas, histórias dos amigos gays Brian Kinney (Gale Harold), Michael Novotony (Hal Sparks), Emmet Honeycutt (Peter Page), Ted Schmidt (Scot Lowell) e Justin Taylor (Randy Harrison).
    [Show full text]