I`Ll Be There for You…

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I`ll be there for you… So no one told you life was gonna be this way Your job's a joke , you're broke, your love life's D.O.A. It's like you always stuck in second gear When it hasn't been your day, your week, your month, or even year but, I'll be there for you When the rain starts to pour I'll be there for you Like I've been there before I'll be there for you Cause you're there for me too. Jennifer Aniston Rachel Green Born in California, February 11, 1969 Films: The Object of My Affection, She’s the One, Rock Star, Bruce Almighty,… Awards: nominated for an Emmy, Favorite Female Television Performer, Golden Globe Courteney Cox Monica Geller Bing Born in Alabama, June 15, 1964 Films: 3000 Miles to Graceland, Scream, Ace Ventura: Pet Detective, Blue Desert, Mr. Destiny,… Guest-starring parts: Murder, She Wrote, Seinfeld,… Lisa Kudrow Pheobe Buffay Born in California, July 30, 1963 Films: Analyze This, Lucky Numbers, Clockwatchers, Hanging Up,… Awards: five Emmy Award nominations, American Comedy Award, Golden Globe, Blockbuster Award Matt LeBlanc Joey Tribbiani Born in Massachusetts, July 25, 1967 Films: Charlie's Angels, Lost in Space, All the Queen's Men,… Awards: Emmy, People's Choice Award and two Golden Globe Awards nominations Matthew Perry Chandler Bing Born in Massachusetts, August 19, 1969 Films: The Whole Nine Yards, She’s Out of Control, Almost Heroes, Three to Tango Awards: Emmy nomination David Schwimmer Ross Geller Born in New York, November 12, 1966 Films: The Odyssey, The Jungle, The Master and Margarita, The Idiot, Since You’ve Been Gone,… Awards: Emmy Award nomination .

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An Analysis of Hegemonic Social Structures in "Friends"
"I'LL BE THERE FOR YOU" IF YOU ARE JUST LIKE ME: AN ANALYSIS OF HEGEMONIC SOCIAL STRUCTURES IN "FRIENDS" Lisa Marie Marshall A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2007 Committee: Katherine A. Bradshaw, Advisor Audrey E. Ellenwood Graduate Faculty Representative James C. Foust Lynda Dee Dixon © 2007 Lisa Marshall All Rights Reserved iii ABSTRACT Katherine A. Bradshaw, Advisor The purpose of this dissertation is to analyze the dominant ideologies and hegemonic social constructs the television series Friends communicates in regard to friendship practices, gender roles, racial representations, and social class in order to suggest relationships between the series and social patterns in the broader culture. This dissertation describes the importance of studying television content and its relationship to media culture and social influence. The analysis included a quantitative content analysis of friendship maintenance, and a qualitative textual analysis of alternative families, gender, race, and class representations. The analysis found the characters displayed actions of selectivity, only accepting a small group of friends in their social circle based on friendship, gender, race, and social class distinctions as the six characters formed a culture that no one else was allowed to enter. iv ACKNOWLEDGMENTS This project stems from countless years of watching and appreciating television. When I was in college, a good friend told me about a series that featured six young people who discussed their lives over countless cups of coffee. Even though the series was in its seventh year at the time, I did not start to watch the show until that season.
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The One with the Feminist Critique: Revisiting Millennial Postfeminism with Friends In the years that followed the completion of its initial broadcast run, which came to an end on 6th (S10 E17 and 18), iconicMay millennial with USthe sitcom airing ofFriends the tenth (NBC season 1994-2004) finale The generated Last One only a moderate amount of scholarly writing. Most of it tended to deal with the series st- principally-- appointment in terms of its viewing institutional of the kindcontext, that and was to prevalent discuss it in as 1990s an example television of mu culture.see TV This, of course, was prior to the widespread normalization of time-shifted viewing practices to which the online era has since given rise (Lotz 2007, 261-274; Curtin and Shattuc 2009, 49; Gillan 2011, 181). Friends was also the subject of a small number of pieces of scholarship that entriesinterrogated that emerged the shows in thenegotiation mid-2000s of theincluded cultural politics of gender. Some noteworthy discussion of its liberal feminist individualism, and, for what example, she argued Naomi toRocklers be the postfeminist depoliticization of the hollow feminist rhetoric that intermittently rose to der, and in its treatment of prominence in the shows hierarchy of discourses of gen thatwomens interrogated issues . issues Theand sameproblems year arising also saw from the some publication of the limitationsof work by inherentKelly Kessler to ies (2006). The same year also sawthe shows acknowledgement depiction and in treatmenta piece by offeminist queer femininittelevision scholars Janet McCabe and Kim Akass of the significance of Friends as a key text of postfeminist television culture (2006).
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Masculinities in the television series ‘Friends’ A different kind of male friendship? A dissertation submitted to the University of Manchester for the degree of MA (Econ) in the Faculty of Economic and Social Studies Manchester, September 2000 by Vegard Iglebæk Women’s Studies Centre Department of Sociology Abstract This dissertation discusses friendships between men in the Northern American television series Friends and focuses upon two of the male characters, Joey Tribbiani and Chandler Bing. Friends shows six twenty-something men and women, sharing two flats in the middle of New York's Manhattan. Even though the series can be interpreted as conveying heterosexual values aimed towards a younger, mainstream audience, I argue that the relation between two of the men, being flatmates, is possibly representing different models of male friendships than usually seen in these kind of series. Personal disclosure and intimacy among heterosexual, Northern-European and American men tend to be restricted to specific arenas and situations, such as blissful moments at the football pitch or in situations of external crisis. Joey and Chandler's constant negotiating of degrees of intimacy is among the plots in the series. However, their relation stands out from the crowd compared to other series' narratives of relations between men. Joey and Chandler can be interpreted as widening the degree of acceptable personal disclosure, rather than being threatened by it. One might claim that they are opening up spaces for new ways of doing heterosexual masculinities, struggling to define modes of acceptable communication in their strictly heterosexual context. I am scrutinising a few scenes from selected episodes, discussing these issues from a sociological point of view, informed by cultural theory.
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Representação Feminina Em Friends: Uma Análise Da Representação De Monica Geller Isadora Severo TEIXEIRA Flavi Ferrei
Intercom – Sociedade Brasileira de Estudos Interdisciplinares da Comunicação 41º Congresso Brasileiro de Ciências da Comunicação – Joinville - SC – 2 a 8/09/2018 Representação Feminina Em Friends: Uma Análise Da Representação De Monica 1 Geller 2 Isadora Severo TEIXEIRA 3 Flavi Ferreira Lisbôa FILHO Universidade Federal de Santa Maria, Santa Maria, RS RESUMO Os Estudos Culturais são um campo que visa investigar as minorias, e essa área surgiu com a intenção de priorizar as classes “de baixo” da sociedade. Ao longo do seu desenvolvimento, o campo adquiriu uma marcante característica em relação à interdisciplinaridade, fato este que colaborou com as discussões acerca das questões de gênero dentro da área. Dessa forma, esse trabalho pretende entender de que forma é feita a representação da personagem do sitcom americano Friends, Monica Geller, ao longo da primeira temporada do seriado. PALAVRAS CHAVE: Estudos Culturais; Friends; Representação Feminina; Sitcom; INTRODUÇÃO Com base no entendimento do cenário no qual estamos inseridos atualmente em que a mulher é apresentada sempre de forma secundária em relação à presença masculina, estando geralmente conectada às responsabilidades da casa e da família, com pouca ênfase para a construção de uma carreira ou de seus desejos pessoais, é necessário ressaltar que entender a maneira que a mídia hegemônica atinge os indivíduos em nossa sociedade é fundamental para que possamos compreender os processos de formação da identidade dos sujeitos. Com isso, o presente trabalho tem como objetivo estudar como é feita a representação da personagem do sitcom americano Friends, Monica Geller, em relação ao seu empoderamento como mulher durante a primeira temporada do seriado.
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9/11 18, 149 ABC 1, 2 Absurdism 55, 72, 231, 247, 256, 263 Affect 14, 41
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