Top Ten Reasons We Love Patricia Field
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—Sex and the City“ Self-Guided Tour
“Sex and the City” Self-Guided Tour During its six seasons on television the ladies of Sex and the City made their way around Manhattan, making some previously unknown locations a must-see on every visitors list. Use this guide to visit some of the most memorable real-life filming locations of Sex and the City and visit www.TheNewYorkCityTraveler.com for more information on New York City. West Village/Meatpacking District 11 Sushi Samba 245 Park Ave South This sushi restaurant is where Samantha 1 Carrie’s Stoop 66 Perry St. confronts a cheating Richard Wright and Sex and the City used a few locations to film coins the term “Dirty martini. Dirty the exterior shots of Carrie’s apartment. bastard.” Here is the most recognizable, Carrie’s 12 Pleasure Chest 156 Seventh Ave. stoop. The girls stop by this sex shop and pick up 2 Magnolia Bakery 401 Bleecker St. the now-famous “The Rabbit” vibrator. Made famous by Sex and the City, stop by 13 Church of the Transfiguration 1 E. 29th St. for a cupcake. Also known as “The Little Church Around 3 Furniture Company 818 Greenwich St. the Corner,” this is where Samantha Furniture Company was cast as Aidan’s attempts to bed Friar Fuck. furniture shop, and where Carrie met Aidan. 14 Vera Wang Bridal House 225 W. 39th St. 4 Samantha’s Loft 300 Ganesvoort St. Where Charlotte picked up her wedding Samantha, always ahead of her time, moved dress when she was marrying Trey. to a loft in the Meatpacking District. The 15 Manolo Blahnik 31 W. -
Female Journalists in Candace Bushnell Novels
From Carrie to Nico: Female Journalists in Candace Bushnell Novels By Stephanie Wenger From Carrie to Nico: Female Journalists in Candace Bushnell Novels 2 Abstract This work examines the image of the female journalist in five novels by Candace Bushnell. Each novel features a female journalist who struggles to balance her demanding job and private life. This paper explores how the female protagonists in these modern novels differ and the ways in which they fit into the major stereotypes of female journalists. This paper will look at the characters’ professional lives, relationships with the opposite sex, and moral compasses. This paper also examines how the protagonists in the novels Sex and the City and Lipstick Jungle differ from their television counterparts. Lastly, this work will look at how Candace Bushnell’s images of the journalist fit into larger social theories about women in the media. From Carrie to Nico: Female Journalists in Candace Bushnell Novels 3 Introduction “Chick lit,” a pop culture abbreviation for chick literature, is a growing sector of the $23-billion publishing industry.1 This genre of books is considered to a subsection of women’s fiction and features “everyday women in their 20s and 30s navigating their generation’s challenges of balancing demanding careers with personal relationships.”2 These books made publishers $71 million in 2002 according to ABC News.3 Sessalee Hensely, a fiction buyer for giant retailer Barnes & Noble, explains, “The mega authors John Grisham, Michael Crichton, Tom Clancy all have had a fall-off in sales, but the chick lit is growing and they’re growing exponentially.”4 The increase in sales of these novels has made Hollywood take notice. -
Knowing Good Sex Pays Off: the Image of the Journalist As a Famous, Exciting and Chic Sex Columnist Named Carrie Bradshaw in HBO’S Sex and the City
Knowing Good Sex Pays Off: The Image of the Journalist as a Famous, Exciting and Chic Sex Columnist Named Carrie Bradshaw in HBO’s Sex and the City By Bibi Wardak Abstract New York Star sex columnist Carrie Bradshaw lives the life of a celebrity in HBO’s Sex and the City. She mingles with the New York City elite at extravagant parties, dates the city’s most influential men and enjoys the adoration of fans. But Bradshaw echoes the image of many female journalists in popular culture when it comes to romance. Bradshaw is thirty-something, unmarried and unsure about having children. Despite having a successful career and loyal friends, she feels unfulfilled after each failed romantic relationship. I. Introduction “A wildly successful career and a relationship -- I was afraid…women only get one or the other.”1 That’s a fear Carrie Bradshaw just can’t shake. The sex columnist for the New York Star is unmarried, career-oriented and unsure if she will ever have a traditional family.2 Just like other modern sob sisters, she is romantically unfulfilled and has sacrificed aspects of her personal life for professional success.3 Bradshaw, played by Sarah Jessica Parker in HBO’s hit television show Sex and the City, portrays a stereotypical image of female journalists found in television and film.4 She and other female journalists in the series struggle to balance a successful Knowing Good Sex Pays Off: The Image of the Journalist as a Famous, Exciting and Chic Sex Columnist Named Carrie Bradshaw in HBO’s Sex and the City By Bibi Wardak 2 career and satisfying romantic life. -
Tom Rubnitz / Dynasty Handbag
TOM RUBNITZ / DYNASTY HANDBAG 9/25/2012 PROGRAM: TOM RUBNITZ The Mother Show, video, 4 mins., 1991 Made for TV, video, 15 mins., 1984 Drag Queen Marathon, video, 5 mins., 1986 Strawberry Shortcut, video, 1:30 mins., 1989 Pickle Surprise, video, 1:30 mins., 1989 DYNASTY HANDBAG The Quiet Storm (with Hedia Maron), video, 10 mins., 2007 Eternal Quadrangle, video, 20 mins., 2012 WHITE COLUMNS JIBZ CAMERON JOSH LUBIN-LEVY What does it mean to be a great performer? In a rather conventional sense, great performing is often associated with a sense of interiority, becoming your character, identifying with your role. In that sense, a great performer could become anyone else simply by looking deep within herself. Of course, there’s a long history of performance practices that reject this model. Yet whether it is a matter of embracing or rejecting what is, so to speak, on the inside, there is an overarching belief that great performers are uniquely adept at locating themselves and using that self to build a world around them. It is no surprise then that today we are all expected to be great performers. Our lives are filled the endless capacity to shed one skin for another, to produce multiple cyber-personalities on a whim. We are hyperaware that our outsides are malleable and performative—and that our insides might be an endless resource for reinventing and rethinking ourselves (not to mention the world around us). So perhaps it’s almost too obvious to say that Jibz When I was a youth, say, about 8, I played a game in the Cameron, the mastermind behind Dynasty Handbag, is an incredible woods with my friend Ocean where we pretended to be hookers. -
Popular Culture and the Feminist Ideal: a Feminist Critique Of
Zendejas 1 Table of Contents Introduction………………………………………………………………………………………2 Background………………………………………………………………………………………7 Meet The Fabulous Foursome…………………..………………………………………………8 Origin……….......……………………………...……………………………………………......10 Method…………………………………………………………………………………………..14 Analysis...………………………………………………………………………………………..16 Conclusion…...………………………………………………………………………………….23 Work Cited..…………………………………………………………………………………….25 Zendejas 2 Popular Culture and the Feminist Ideal: A Feminist Critique of Home Box Office’s Sex and the City “You have no idea how many men I have had to sleep with to get this award,” was the opening line to Kim Cattrall’s Golden Globe Best Supporting Actress acceptance speech, for her performance in Sex and the City in 2003. The success of the series that led to her award is a direct correlation to the large crowds that the film attracted when it made its debut in 2008. What is astounding, is that in 2007 only five of the fifty top grossing movies in American had a woman as a lead character , so not surprisingly critics throughout the nation were stunned at the great success the film Sex and the City had on its opening weekend. While critics were astounded, loyal fans predicted the success. The popularity of the film may perhaps be indicative of the times . This film came three years after the season finale of the HBO series also titled, Sex and the City . The series began at the peak of an ambitious female generation, empowered by third wave, and post-modern feminist movements. It may be that the emergence of a series that features the lives of four New York City women whose motto is to “do it like a man,” is the reason for the incredible following the series has had since its public debut. -
'Perfect Fit': Industrial Strategies, Textual Negotiations and Celebrity
‘Perfect Fit’: Industrial Strategies, Textual Negotiations and Celebrity Culture in Fashion Television Helen Warner Submitted for the degree of Doctor of Philosophy (PhD) University of East Anglia School of Film and Television Studies Submitted July 2010 ©This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that no quotation from the thesis, nor any information derived therefrom, may be published without the author's prior, written consent. Helen Warner P a g e | 2 ABSTRACT According to the head of the American Costume Designers‟ Guild, Deborah Nadoolman Landis, fashion is emphatically „not costume‟. However, if this is the case, how do we approach costume in a television show like Sex and the City (1998-2004), which we know (via press articles and various other extra-textual materials) to be comprised of designer clothes? Once onscreen, are the clothes in Sex and the City to be interpreted as „costume‟, rather than „fashion‟? To be sure, it is important to tease out precise definitions of key terms, but to position fashion as the antithesis of costume is reductive. Landis‟ claim is based on the assumption that the purpose of costume is to tell a story. She thereby neglects to acknowledge that the audience may read certain costumes as fashion - which exists in a framework of discourses that can be located beyond the text. This is particularly relevant with regard to contemporary US television which, according to press reports, has witnessed an emergence of „fashion programming‟ - fictional programming with a narrative focus on fashion. -
Mrc-Groveguide-Body-Abr-07-20-Lr
COME HOME TO MR. C GROVE CENTRAL MR. C RESIDENCES COCONUT GROVE MARY STREET COCOWALK DAVID T. KENNEDY PARK REGATTA PARK GROVE AT GRAND BAY PARK GROVE RESIDENCES MR. C HOTEL COCONUT GROVE KENNETH M.MYERS BAYSIDE PARK PEACOCK PARK THE BARNACLE HISTORIC STATE PARK P. 11 MR. C RESIDENCES TABLE COCONUT GROVE, FL P. 63 COCONUT DISCOVERING GROVE COCONUT OF GROVE P. 81 CONTENTS NATURE, PARKS PARKS & GARDENS P. 93 MARINAS MARINAS & SAILING P. 99 SCHOOLS WORLD-CLASS SCHOOLS P. 107 RESTAURANTS DINE BARS & CAFÉS P. 135 SHOP RETAIL/ BOUTIQUES P. 151 HEALTH HEALTH & FITNESS P. 159 SPORTS WATERSPORTS & NAUTICAL LIFESTYLE P. 167 GEMS HIDDEN GEMS EVENTS P. 181 WEEKLY/ HIGHLIGHTS ANNUAL EVENTS ARTIST’S CONCEPTUAL RENDERING - SEE DISCLAIMERS PAGE MR. C RESIDENCES COCONUT GROVE 12 13 Mr. C Residences Coconut Grove is a contemporary take MODERN on classic European living. It EUROPEAN is Old World sophistication and modern comfort infused ELEGANCE with the maritime tradition of Coconut Grove, Florida and the FINDS ITS fourth generation of the Cipriani HOME IN family’s perfectly serviced lifestyle experience. COCONUT GROVE ARTIST’S CONCEPTUAL RENDERING - SEE DISCLAIMERS PAGE 16 17 Mr. C Residences in Coconut Grove is home to For those who appreciate those who gravitate towards the finer things. Those who live their lives with an inherent the art of living well. sense of style and believe that simplicity is the ultimate sophistication. It is for those who understand that it is the little things—the details—that make all the difference. Bayshore Lobby ARTIST’S CONCEPTUAL RENDERING - SEE DISCLAIMERS PAGE DISCLAIMERS SEE - RENDERING CONCEPTUAL ARTIST’S 18 19 Quintessential European style coming to one of Miami’s most charming neighborhoods. -
Creating Images for Hollywood Classics Vicki James Yiannias
Creating Images for Hollywood Classics Vicki James Yiannias From the time of silent films, the images of American cinema have reflected the environment of their time. The sounds, sites, costumes, makeup, and movements on the screen reinforce the norms of the era, but also give a taste of social changes in their early phases. Most popular attention has been focused on actors, who when influential are labeled stars, even if their talent is limited. More recently some directors also have become “bankable” as stars of their own kind. Still under-appreciated by most filmgoers are the critical behind-the scenes roles by others in the filmmaking team. Greeks who have carved some legendary spaces in their respective specialties are not widely celebrated, even by the Greek American public. Six such individuals are Jack Pierce, make-up and special effects artist; Hermes Pan, choreographer; Dean Tavoularis, production designer; and Theoni Aldredge, Patricia Field, and Mary Zophres, three extraordinary costumer designers. From Frankenstein to Mister Ed Special effects and makeup genius Jack Pierce (1889-1968) is one of the great innovators in Hollywood history. His masterly conceived monsters and creatures created for Hollywood horror classics such as Frankenstein (1931), Dracula 1931), The Mummy (1932), and Wolf Man (1941) are still terrifying, and their influence on popular culture, continues on a grand scale. Yiannis Peter Piccoulas (1889-1968) was born in Porto Cheli, Ermionida, in the Peloponnese. His father was a shepherd (likely to have been originally from the village of Valtestsi).1 In 1902, when he was just thirteen, Piccoulas left his family to come to America in search of a better life. -
Camilla Huey
CAMILLA HUEY FILM Sex and the City 2 Special Couture Projects & Costume Construction New Line Cinema Director: Michael Patrick King Producers: M.P. King, John P. Melfi, Sarah Jessica Parker, Darren Star Designer: Patricia Field & Molly Rogers, Asst. Cast: Sarah Jessica Parker, Kristin Davis, Kim Cattrall, Cynthia Nixon Confessions of a Shopaholic Special Projects & Costume Construction Touchstone Pictures Director: P.J. Hogan Producer: Jerry Bruckheimer Designer: Patricia Field & Molly Rogers, Asst. Cast: Isla Fisher, Krysten Ritter, Joan Cusack Sex and the City Special Couture Projects & Costume Construction New Line Cinema Director: Michael Patrick King Producers: M.P. King, John P. Melfi, Sarah Jessica Parker, Darren Star Designer: Patricia Field & Molly Rogers, Asst. Cast: Sarah Jessica Parker, Kristin Davis, Kim Cattrall, Cynthia Nixon The Devil Wears Prada Special Couture Projects & Costume Construction 20th Centruy Fox Director: David Frankel Producer: Wendy Finerman Designer: Patricia Field & Molly Rogers, Asst. Cast: Meryl Streep, Anne Hathaway, Emily Blunt Day On Fire Costume Designer Lodestar Director: Jay Anania Producer: William Fisch, Larry Rattner, Susan P Rosgers, Ten Travis Cast: Carmen Chaplin, Olympia Dukakis, Judy Kuhn, Alyssa Sutherland Issaquena Costume Designer Alluvial Films Director: Lance Hammer Producers: Lance Hammer, Emily Lundin Cast: Katie Allen, Oriana Carpenter, Biana Chapman The Guru Marisa Tomei’s Wardrobe & Turbans Universal Pictures Director: Daisy von Scherler Mayer Producer: Tim Bevan, Eric Fellner, Michael London Designer: Michael Clancey & Pilar Limosner, Asst. Cast: Heather Graham, Marisa Tomei, Christine Baranski My Best Friend’s Wedding Lobster & Waitress Costumes Tristan Pictures Director: P.J. Hogan Producer: Ronald Bass & Jerry Zucker Designer: Jeffrey Kurland Cast: Julia Roberts, Dermot Mulroney, Cameron Diaz, Rupert Everrett. -
Women's Independence in the Characters of Bushnell's
WOMEN’S INDEPENDENCE IN THE CHARACTERS OF BUSHNELL’S SEX AND THE CITY—A FILM ANALYSIS A THESIS Presented as Partial Fulfillment of the Requirement for the Attainment of a Sarjana Sastra Degree in English Language and Literature Written By: Seruni Eka Novita Sari 08211144011 ENGLISH LANGUAGE AND LITERATURE STUDY PROGRAM FACULTY OF LANGUAGES AND ARTS YOGYAKARTA STATE UNIVERSITY 2015 PERNYATAAN Saya yang bertandatangan di bawah ini: Nama : Seruni Eka Novita Sari NIM : 08211144011 Program Studi : Bahasa dan Sastra Inggris Fakultas : Bahasa dan Seni Menyatakan bahwa karya ilmiah ini adalah hasil pekerjaan saya sendiri. Dan sepanjang pengetahuan saya, karya ini tidak berisi materi yang dituliskan oleh orang lain kecuali bagian-bagian tertentu yang saya ambil sebagai acuan yang mengikuti tata cara dan etika penulisan karya ilmiah yang lazim. Apabila terbukti bahwa pernyataan ini tidak benar, maka hal ini sepenuhnya menjadi tanggung jawab saya. Yogyakarta, 17th September 2015 Seruni Eka Novita Sari iii MOTTOS Dream, Believe, and make it happen. (Agnes Monica) Oh yes I am wise, But it’s wisdom born of pain. Yes I pay the price, but look how much I gained. If I have to, I can do anything. I am strong—I am invincible—I am woman. (Helen Reddy song—I am woman) Love is the label that never goes out of style. (Carrie in Sex and the City) iv DEDICATIONS I dedicate this Thesis to: 1. My Mother Almh. Hj. Sri Moerwani, Dra. 2. My Father Alm. Rudi Bambang,Drs. 3. My Grandparents Haji and Hajah Soedjilin Pawiro Soekarno 4. My entire family in Jogja, Bandung, Jakarta and Surabaya. -
First-Ever Birkin Bag, Winston Churchill's Despatch Box and Carrie
First-ever Birkin bag, Winston Churchill’s despatch box and Carrie Bradshaw’s Fendi ‘Baguette’ feature in Bags: Inside Out Sponsored by Mulberry Gallery 40, V&A 12th December 2020 – 12th September 2021 vam.ac.uk/exhibitions/bags | #BagsInsideOut Press speeches available to watch here (not for publication) Bags: Inside Out is the UK’s most comprehensive exhibition dedicated to the ultimate accessory. From designer handbags to despatch boxes, vanity cases to military rucksacks, the exhibition explores our longstanding fascination with the bag. Featuring innovative designs from Mulberry to Karl Lagerfeld, bags carried by Jane Birkin to Sarah Jessica Parker, the heritage of Hermès to the streetwear of Off-White, and an exclusive look inside the world of the factory and atelier; Bags: Inside Out provides an unprecedented look at this global obsession. Often projecting bold statements to the outside world whilst concealing our most treasured belongings, the exhibition explores the function, status and craftsmanship of bags. Examined through around 300 objects varying in scale from tiny purses held on a fingertip to luxurious travel trunks, this thematic exhibition explores the worldwide heritage of these highly covetable objects from the 16th century to today. The first section of the exhibition on Function and Utility examines bags as practical objects designed to hold our belongings. From holiday outfits to confidential documents, make-up to money and even gas masks, the design and materials of our bags often reflect their intended purpose as functional objects. Rare exhibits on show include a large embroidered burse used to protect the silver matrix of Elizabeth I’s Great Seal of England, a gas mask bag owned by HRH Queen Mary during the Second World War, Winston Churchill’s red despatch box and Vivien Leigh’s attaché case. -
Sex and the City: Perpetual Adolescence Gendered Feminine?
Nebula 4.1 , March 2007 Sex and the City: Perpetual Adolescence Gendered Feminine? By Stephen Gennaro Gendered Media Messages This essay examines the marketing discourse of “perpetual adolescence,” which trains both young and old to be consumers of “youth” in a marketplace that privileges adolescence over adulthood. The main purveyor of this discourse is the media, and even more specifically, television, which de-stabilizes identity formation by over-saturating the individual with images and identities for possible ownership and consumption. One of the problems with examining televisual representations of perpetual adolescence is that the televisual discourse is typically gendered masculine (and white, hetero, middle-class masculine), which means that the lifestyles that are continually privileged become so widely distributed that we view them as “natural” and “normal” and the standard against which we judge all other lifestyles. In television sitcoms, the lifestyles that are most often replicated and privileged have historically centered on a “Leave it To Beaver” model, which includes a nuclear family unit with a working father, a stay at home mother, two or more children, and a house in the suburbs. Tied into these representations are gendered expectations of what are consider socially accepted male and female roles (that men should work and women should stay home), and a variety of stereotypical characteristics that we associate with being either masculine or feminine traits (such as: men are supposed to be strong, silent, detached, decisive, etc., and women are supposed to be sensitive, emotional, collaborative, etc.). Even more recent sitcoms, which do not center around the nuclear family unit, such as “Friends,” still participate in re-enforcing gendered stereotypes through the traits associated with each of the main characters.