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Glaadawards March 16, 2013 New York New York Marriott Marquis
#glaadawards MARCH 16, 2013 NEW YORK NEW YORK MARRIOTT MARQUIS APRIL 20, 2013 LOS AnGELES JW MARRIOTT LOS AnGELES MAY 11, 2013 SAN FRANCISCO HILTON SAN FRANCISCO - UnION SQUARE CONNECT WITH US CORPORATE PARTNERS PRESIDENT’S LETTer NOMINEE SELECTION PROCESS speCIAL HONOrees NOMINees SUPPORT FROM THE PRESIDENT Welcome to the 24th Annual GLAAD Media Awards. Thank you for joining us to celebrate fair, accurate and inclusive representations of the lesbian, gay, bisexual and transgender (LGBT) community in the media. Tonight, as we recognize outstanding achievements and bold visions, we also take pause to remember the impact of our most powerful tool: our voice. The past year in news, entertainment and online media reminds us that our stories are what continue to drive equality forward. When four states brought marriage equality to the election FROM THE PRESIDENT ballot last year, GLAAD stepped forward to help couples across the nation to share messages of love and commitment that lit the way for landmark victories in Maine, Maryland, Minnesota and Washington. Now, the U.S. Supreme Court will weigh in on whether same- sex couples should receive the same federal protections as straight married couples, and GLAAD is leading the media narrative and reshaping the way Americans view marriage equality. Because of GLAAD’s work, the Boy Scouts of America is closer than ever before to ending its discriminatory ban on gay scouts and leaders. GLAAD is empowering people like Jennifer Tyrrell – an Ohio mom who was ousted as leader of her son’s Cub Scouts pack – to share their stories with top-tier national news outlets, helping Americans understand the harm this ban inflicts on gay youth and families. -
Felicia D. Henderson Education Awards
FELICIA D. HENDERSON Los Angeles, California www.feliciadhenderson.com EDUCATION Ph.D., Cinema and Media Studies, University of California, Los Angeles, 2016 Dissertation: Cultural Micro-Politics in the TV Writers’ Room: How Narratives Are Collectively Produced and Evolve Over Time in a Dynamic Process. Committee Chair: John T. Caldwell Fields of Study: TV History & Criticism; Race, Gender & Media Studies; American Film History M.F.A., University of California, Los Angeles, 2004 Program: Screenwriting M.B.A., University of Georgia, Athens, Georgia, 1990 Areas of Concentration: Corporate Finance; Non-Profit Management; Entrepreneurship B.A., University of California, Los Angeles, CA, 1984 Major: Psycho-Biology; Minor: English Literature AWARDS, FELLOWSHIPS, AND RECOGNITION UCLA School of Theater, Film and Television Alumni Achievement Award, 2010 NAACP Theatre Awards Nominee, Best Musical Director, What Would Jimi Do? 2010 Writers Guild of America (WGA) Nominee, Best New Drama, Fringe, 2009 UCLA Graduate Summer Research Mentorship Award, 2008 Zakin/Hunter Chairholder in Screenwriting (UCLA), 2007 Tom Bradley Alumni of the Year Award (UCLA), 2006 UCLA Diversity Fellowship, 2005-2006 Zaki Gordon Screenwriting Award (UCLA), 2003 NAACP Image Awards Winner, Best Dramatic Television Series, Soul Food, 2002, 2003, 2004 UCLA Screenwriters Showcase Award, 1998 Warner Bros. Writers Program (TV Comedy Writer Training Program), 1994 PUBLICATIONS Options and Exclusivity: Economic Pressures on TV Writers’ Compensation and the Effects on Writers’ Room Culture, The SAGE Handbook of Television Studies, M. Alvarado, M. Buonanno, H. Gray, T. Miller, Sage: London, 2015. The Culture Behind Closed Doors: Issues of Gender and Race in the Writers’ Room, Cinema Journal: The Journal of the Society for Cinema and Media Studies, Vol. -
Melina Root Costume Designer
MELINA ROOT COSTUME DESIGNER TELEVISION DIRECTOR STUDIO/NETWORK NO TOMORROW (Pilot) Brad Silberling CBS Television/The CW CRAZY EX-GIRLFRIEND (Pilot, Season 1) Marc Webb CBS Television/The CW STATE OF AFFAIRS (Pilot) Joe Carnahan Universal Television GUYS WITH KIDS (Pilot & Series) Scott Ellis (Pilot) Universal Television/NBC BROTHERS AND SISTERS Various Touchstone/ABC (Season 2: Episodes 13-16 & Seasons 3-5) Warner Bros./Adult Swim HITCHED (Pilot) Rob Greenberg Warner Bros./CBS th MISS GUIDED (Series/Season 1) Todd Holland (Pilot) 20 Century Fox/ABC PLAYING CHICKEN (Pilot) John Pasquin Warner Bros./FOX 20 GOOD YEARS (Pilot & Series) Terry Hughes Warner Bros./NBC NEIGHBORS (Pilot) Jeff Melman Touchstone/ABC INSEPARABLE (Pilot) Pam Fryman NBC Universal/CBS THAT 80’S SHOW (Pilot & Series) Terry Hughes Carsey-Werner/FOX THAT 70’S SHOW (Pilot & Series) David Trainer Carsey-Werner/FOX Emmy Award: Outstanding Costumes for a Series, 1999 Emmy Nominations: Outstanding Costumes for a Series, 2002-2004 Costume Designers Guild Awards Nominations, 2000-2001, 2003, 2005 RD 3 ROCK FROM THE SUN (Pilot/Series) James Burrows (Pilot), Terry Hughes Carsey-Werner/NBC 1997 Emmy Award Outstanding Costumes for a Series, “Nightmare on Dick Street” 1998 Emmy Nomination: Outstanding Costumes for a Series, “36, 24, 36 Dick” 2000 Costume Designers Guild Awards Nomination NORMAL, OHIO (Pilot & Season 1: Episodes 1-6) Philip Charles MacKenzie Carsey-Werner/NBC TOWNIES (Pilot) Pam Fryman Carsey-Werner/ABC THE MARTIN SHORT SHOW (Series/Special) John Blanchard NBC SATURDAY NIGHT LIVE (Seasons 16-19) Various NBC LATE NIGHT WITH CONAN O'BRIEN Various NBC (Wardrobe Redesign for Hosts) FEATURES DIRECTOR STUDIO BROTHERS SOLOMON Bob Odenkirk Revolution Studios WAYNE'S WORLD II Stephen Surjik Paramount Pictures MURTHA SKOURAS AGENCY 1025 COLORADO AVENUE, SANTA MONICA, CA 90401 PHONE 310.395.4600 | FAX 310.395.4622 WWW.MURTHASKOURAS.COM . -
Directors Tell the Story Master the Craft of Television and Film Directing Directors Tell the Story Master the Craft of Television and Film Directing
Directors Tell the Story Master the Craft of Television and Film Directing Directors Tell the Story Master the Craft of Television and Film Directing Bethany Rooney and Mary Lou Belli AMSTERDAM • BOSTON • HEIDELBERG • LONDON NEW YORK • OXFORD • PARIS • SAN DIEGO SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an imprint of Elsevier Focal Press is an imprint of Elsevier 225 Wyman Street, Waltham, MA 02451, USA The Boulevard, Langford Lane, Kidlington, Oxford, OX5 1GB, UK © 2011 Bethany Rooney and Mary Lou Belli. Published by Elsevier Inc. All rights reserved No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from the publisher. Details on how to seek permission, further information about the Publisher’s permissions policies and our arrangements with organizations such as the Copyright Clearance Center and the Copyright Licensing Agency, can be found at our website: www.elsevier.com/permissions. This book and the individual contributions contained in it are protected under copyright by the Publisher (other than as may be noted herein). Notices Knowledge and best practice in this field are constantly changing. As new research and experience broaden our understanding, changes in research methods, professional practices, or medical treatment may become necessary. Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any information, methods, compounds, or experiments described herein. In using such information or methods they should be mindful of their own safety and the safety of others, including parties for whom they have a professional responsibility. -
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. -
Nomination Press Release
Brian Boyle, Supervising Producer Outstanding Voice-Over Nahnatchka Khan, Supervising Producer Performance Kara Vallow, Producer American Masters • Jerome Robbins: Diana Ritchey, Animation Producer Something To Dance About • PBS • Caleb Meurer, Director Thirteen/WNET American Masters Ron Hughart, Supervising Director Ron Rifkin as Narrator Anthony Lioi, Supervising Director Family Guy • I Dream of Jesus • FOX • Fox Mike Mayfield, Assistant Director/Timer Television Animation Seth MacFarlane as Peter Griffin Robot Chicken • Robot Chicken: Star Wars Episode II • Cartoon Network • Robot Chicken • Robot Chicken: Star Wars ShadowMachine Episode II • Cartoon Network • Seth Green, Executive Producer/Written ShadowMachine by/Directed by Seth Green as Robot Chicken Nerd, Bob Matthew Senreich, Executive Producer/Written by Goldstein, Ponda Baba, Anakin Skywalker, Keith Crofford, Executive Producer Imperial Officer Mike Lazzo, Executive Producer The Simpsons • Eeny Teeny Maya, Moe • Alex Bulkley, Producer FOX • Gracie Films in Association with 20th Corey Campodonico, Producer Century Fox Television Hank Azaria as Moe Syzlak Ollie Green, Producer Douglas Goldstein, Head Writer The Simpsons • The Burns And The Bees • Tom Root, Head Writer FOX • Gracie Films in Association with 20th Hugh Davidson, Written by Century Fox Television Harry Shearer as Mr. Burns, Smithers, Kent Mike Fasolo, Written by Brockman, Lenny Breckin Meyer, Written by Dan Milano, Written by The Simpsons • Father Knows Worst • FOX • Gracie Films in Association with 20th Kevin Shinick, -
The Complexities of Latina Sexuality on Ugly Betty Tanya González
IS UGLY THE NEW SEXY? The Complexities of Latina Sexuality on Ugly Betty Tanya González ABC’s Emmy and Golden Globe winning television show Ugly Betty stars America Ferrera as Betty Suarez, an intelligent Mexican American executive assistant who lives in Queens, New York, but works at Mode in Manhattan. An adaptation from the Colombian telenovela,Yo soy, Betty la fea, this television show works on a fairy tale premise: the ugly protagonist with a heart of gold will eventually obtain happiness by virtue of her goodness. However, Ugly Betty offers a protagonist with multiple love interests, constantly involving her in a variety of love triangles, begging the question, “Is ugly the new sexy?” The following analysis of Betty as a sexual subject demonstrates that Ugly Betty, within the limits of Hollywood representation, offers complex subjects instead of one-dimensional types. The show’s use of a Latino camp aesthetic continually introduces elements, like Betty’s sexuality, that push the limits of how we perceive Latinas/os on television and in everyday life. As a result, Ugly Betty surprisingly illustrates Chicana/o and Latina/o feminist theories about identity construction. ABC’s Emmy and Golden Globe winning television show Ugly Betty is a global iteration of the Colombian telenovela1 phenomenon Yo soy, Betty la fea (1999-2001). Ugly Betty, which premiered Fall 2006 and will end Spring 2010, stars America Ferrera as Betty Suarez, an intelligent, sweet, perky young Latina2 who lives in Queens, but works at Mode, a fictional representation of Vogue magazine. As the title suggests, people perceive Betty as ugly because she is not model-skinny; wears glasses, braces, and bangs; and has poor fashion sense. -
SCMS 2019 Conference Program
CELEBRATING SIXTY YEARS SCMS 1959-2019 SCMSCONFERENCE 2019PROGRAM Sheraton Grand Seattle MARCH 13–17 Letter from the President Dear 2019 Conference Attendees, This year marks the 60th anniversary of the Society for Cinema and Media Studies. Formed in 1959, the first national meeting of what was then called the Society of Cinematologists was held at the New York University Faculty Club in April 1960. The two-day national meeting consisted of a business meeting where they discussed their hope to have a journal; a panel on sources, with a discussion of “off-beat films” and the problem of renters returning mutilated copies of Battleship Potemkin; and a luncheon, including Erwin Panofsky, Parker Tyler, Dwight MacDonald and Siegfried Kracauer among the 29 people present. What a start! The Society has grown tremendously since that first meeting. We changed our name to the Society for Cinema Studies in 1969, and then added Media to become SCMS in 2002. From 29 people at the first meeting, we now have approximately 3000 members in 38 nations. The conference has 423 panels, roundtables and workshops and 23 seminars across five-days. In 1960, total expenses for the society were listed as $71.32. Now, they are over $800,000 annually. And our journal, first established in 1961, then renamed Cinema Journal in 1966, was renamed again in October 2018 to become JCMS: The Journal of Cinema and Media Studies. This conference shows the range and breadth of what is now considered “cinematology,” with panels and awards on diverse topics that encompass game studies, podcasts, animation, reality TV, sports media, contemporary film, and early cinema; and approaches that include affect studies, eco-criticism, archival research, critical race studies, and queer theory, among others. -
The Cw Arrowverse and Myth-Making, Or the Commodification of Transmedia Franchising
PRODUCTIONS / MARKETS / STRATEGIES THE CW ARROWVERSE AND MYTH-MAKING, OR THE COMMODIFICATION OF TRANSMEDIA FRANCHISING CHARLES JOSEPH Name Charles Joseph Arrowverse, a shared narrative space based on DC-inspired Academic centre University of Rennes 2 original series which provided the network with a fertile E-mail address [email protected] groundwork to build upon. The CW did not hesitate to capitalize on its not-so-newfound superhero brand to KEYWORDS induce a circulation of myth, relying on these larger-than- The CW; DC comics; Arrowverse; transmedia; convergence; life characters at the heart of American pop culture to superhero; myth. fortify its cultural and historical bedrock and earn its seat along the rest of the Big 4. This paper aims to decipher how The CW pioneered new technology-based tools ABSTRACT which ultimately changed the American media-industrial The CW’s influence over the American network television landscape of the early 2010s, putting these tools to the landscape has never ceased to grow since its creation test with the network’s superhero series. It will thus also in 2006. The network’s audience composition reflects address how the Arrowverse set of characters has triggered The CW’s strategies to improve its original content as cross-media and transmedia experimentations, how The well as diversifying it, moving away from its image as a CW stimulated rapport with its strong fan base, as well network for teenage girls. One of the key elements which as how the network has been able to capitalize on the has supported this shift was the development of the superhero genre’s evocative capacities. -
Rick R. Johnson
Rick R. Johnson 1st Asst. Director / 2 nd Unit Director - Member of the DGA: Local in LA and Atlanta IMDB: http://www.imdb.com Featured DGA Article (www.dga.org), Spring 2015 _____________________________________________________________________________ 2018 “AMERICAN SOUL” – S1 (TV Series) Atlanta, GA Producer: Jesse Collins * Creator/Producer: Devon Greggory * Producer: Jim Bigwood 2018 “BLACK LIGHTNING” (Pilot) Atlanta, GA Producer/Director: Salim Akil * Producer: Greg Berlanti * UPM: Chris Bromley 2017 “DAYTIME DIVAS” – S1 (TV Series) Atlanta, GA Producer: Amy Engelberg * Producer: Wendy Engelberg * UPM: Katie Willard Troebs 2016 “QUEEN SUGAR” – S1 (TV Series) (Atlanta, GA) Producer: Ava DuVernay * Producer: Carla Gardini * UPM: Paul Garnes 2014 - 2015 “BEING MARY JANE” - S1, S2, S3” (TV Series) Atlanta, GA Producer / Director: Salim Akil • UPM/Producer: Paul Garnes • Producer: Mara Brock Akil 2013 - 2014 “THE GAME” - S5, S6, S7” (TV Series) Atlanta, GA Producer / Director: Salim Akil • UPM/Producer: Paul Garnes • Producer: Mara Brock Akil / Kenny Smith 4929 Wilshire Blvd., Ste. 259 Los Angeles, CA 90010 ph 323.782.1854 fx 323.345.5690 [email protected] 2013 “WISH YOU WELL” (Feature) Atlanta, Ga Director: Darnell Martin • UPM: Fred Styles • Producer: David Baldacci / Karen Spiegel 2013 “RING OF FIRE” (TV Movie) Atlanta, Ga Director: Allison Anders • UPM: James Spies • Producer: Jonathan Koch & Damian Granczewski 2012 “STEELE MAGNOLIAS” (TV Movie) Atlanta, Ga Director: Kenny Leon • UPM: Daniel Schneider • Producer: David Rosemont, -
WINNERS Children’S Programs Documentary Daytime Serials
MARCH 2011 MICK JACKSON MARTINMARTIN SCORSCORSSESEESE MICHAEL SPILLER Movies For Television Dramatic Series Comedy Series and Mini-Series TOM HOOPER Outstanding Directorial Achievement in Feature Film GLENN WEISS EYTAN KELLER STACYSTACY WALLWALL Musical Variety Reality Programs Commercials ERIC BROSS CHARLES FERGUSON LARRY CARPENTER WINNERS Children’s Programs Documentary Daytime Serials In this Issue: • DGA 75th Anniversary events featuring Martin Scorsese, Kathryn Bigelow, Francis Ford Coppola and the game-changing VFX of TRON and TRON: Legacy • March Screenings, Meetings and Events MARCH MONTHLY VOLUME 8, NUMBER 3 Contents 1 29 MARCH MARCH CALENDAR: MEETINGS LOS ANGELES & SAN FRANCISCO 4 DGA NEWS 30-34 MEMBERSHIP 6-8 SCREENINGS UPCOMING EVENTS 35 RECENT 9-27 EVENTS DGA AWARDS COVERAGE 36 28 MEMBERSHIP MARCH CALENDAR: REPORT NEW YORK, CHICAGO, WASHINGTON, DC DGA COMMUNICATIONS DEPARTMENT Morgan Rumpf Assistant Executive Director, Communications Sahar Moridani Director of Media Relations Darrell L. Hope Editor, DGA Monthly & dga.org James Greenberg Editor, DGA Quarterly Tricia Noble Graphic Designer Jackie Lam Publications Associate Carley Johnson Administrative Assistant CONTACT INFORMATION 7920 Sunset Boulevard Los Angeles, CA 90046-0907 www.dga.org (310) 289-2082 F: (310) 289-5384 E-mail: [email protected] PRINT PRODUCTION & ADVERTISING IngleDodd Publishing Dan Dodd - Advertising Director (310) 207-4410 ex. 236 E-mail: [email protected] DGA MONTHLY (USPS 24052) is published monthly by the Directors Guild of America, Inc., 7920 Sunset Boulevard, Los Angeles, CA 90046-0907. Periodicals Postage paid at Los Angeles, CA 90052. SUBSCRIPTIONS: $6.00 of each Directors Guild of America member’s annual dues is allocated for an annual subscription to DGA MONTHLY. -
The Pennsylvania State University the Graduate School College of Communications
The Pennsylvania State University The Graduate School College of Communications BLACK GIRLS ROCK! AND THE POLITICS OF EMPOWERMENT A Thesis in Media Studies by Sika A. Wheeler © 2016 Sika A. Wheler Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts August 2016 The thesis of Sika A. Wheeler was reviewed and approved* by the following: Matthew McAllister Chair of Graduate Programs Professor of Media Studies Thesis Adviser Michelle Rodino-Colocino Associate Professor of Film-Video Studies, Media Studies Denise Bortree Associate Professor of Advertising/Public Relations Ford Risley Associate Dean for Undergraduate and Graduate Education Professor of Journalism *Signatures are on file in the Graduate School. ii ABSTRACT In the contemporary moment in popular culture, there seems to be an increase in media messages targeted toward Black women and girls under the notion of “empowerment.” This is a shift from a history of racist, misogynist representations of Black femininity in visual culture but not without complications. This thesis explores these notions of empowerment as portrayed through a case study of the BET awards program Black Girls Rock!. Using textual analysis of the program as well as of online feminist responses to the program, this study presents a way of understanding the challenges to engaging in authentic Black girl empowerment through popular media. While such programs extend the efforts of Black feminist scholars and activists by doing the important work of resisting the abundance of negative representation in visual media with positive affirmation for Black women and girls, these efforts still render Black girls as helpless and perpetually at-risk.