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DAVID MARTIN CDG CASTING DIRECTOR Mobile – 07845 728 299 Agent: Kevin Francis – Angel and Francis 1st Floor, 12 D’Arblay Street, London W1F 8DU 020 7439 3086 www.davidmartincasting.com [email protected] TELEVISION ROVERS JELLYLEGS CRAIG CASH 6 X 30 MINUTES LUCY ANSBRO SKY 1 BLACK WORK MAMMOTH SCREEN MICHAEL SAMUELS 3 X 1 HOURS TOM MULLENS ITV AFTER HOURS JELLYLEGS CRAIG CASH 6 X 30 MINUTES LUCY ANSBRO SKY 1 THE MILL SERIES 2 DARLOW SMITHSON SUSAN TULLY 6 X 1 HOURS BILL ANDERSON CHANNEL 4 JOHNATHON YOUNG PREY RED PRODUCTIONS NICK MURPHY 3 X 1 HOURS TOM SHERRY ITV PAT & CABBAGE RED PRODUCTIONS SYD MACARTNEY 6 X 30 MINUTES TOM SHERRY ITV SCOTT AND BAILEY RED PRODUCTIONS VARIOUS Series 2,3 & 4 TOM SHERRY ITV CASTING ASSOCIATE THE DRIVER RED PRODUCTIONS / JAMIE PAYNE 3 X 1 HOURS HIGHFIELD FILMS JOLYON SYMONDS BBC CREDITED ALONGSIDE BEVERLEY KEOGH, KELLY VALENTINE HENDRY AND VICTOR JENKINS FROM THERE TO HERE KUDOS JAMES STRONG 3 X 1 HOURS TIM BRICKNELL BBC CREDITED ALONGSIDE BEVERLEY KEOGH THE VILLAGE COMPANY PICTURES ANTONIA BIRD 6 X 1 HOURS EMMA BURGE BBC THE MILL DARLOW SMITHSON JAMES HAWES 4 X 1 HOURS CAROLINE LEVY CHANNEL 4 MOUNT PLEASANT TIGER ASPECT VARIOUS 10 X 1 HOURS HOWARD ELLA SKY 1 CREDITED ALONGSIDE JULIA DUFF NEW TRICKS WALL TO WALL VARIOUS 44 X 1 HOURS KEITH THOMPSON BBC HOTEL BABYLON CARNIVAL VARIOUS 11 X 1 HOURS CHRISTOPHER AIRD BBC CASTING ASSISTANT SECRET DIARY OF A CALL TIGER ASPECT VARIOUS GIRL JACQUIE GLANVILLE 24 X 3O MINUTES ITV 2 THE AMAZING MRS KUDOS VARIOUS PRITCHARD ALISON JACKSON 6 X 1 HOURS BBC FOOTBALLERS WIVES SHED VARIOUS SERIES 3 & 4 BRIAN PARK ITV BAD GIRLS SHED VARIOUS ITV CAMERON ROACH WATERLOO ROAD SHED VARIOUS SERIES ONE BRIAN PARK BBC .

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Bad Girls: Agency, Revenge, and Redemption in Contemporary Drama
e Interdisciplinary Journal of Popular Culture and Pedagogy Bad Girls: Agency, Revenge, and Redemption in Contemporary Drama Courtney Watson, Ph.D. Radford University Roanoke, Virginia, United States [email protected] ABSTRACT Cultural movements including #TimesUp and #MeToo have contributed momentum to the demand for and development of smart, justified female criminal characters in contemporary television drama. These women are representations of shifting power dynamics, and they possess agency as they channel their desires and fury into success, redemption, and revenge. Building on works including Gillian Flynn’s Gone Girl and Netflix’s Orange is the New Black, dramas produced since 2016—including The Handmaid’s Tale, Ozark, and Killing Eve—have featured the rise of women who use rule-breaking, rebellion, and crime to enact positive change. Keywords: #TimesUp, #MeToo, crime, television, drama, power, Margaret Atwood, revenge, Gone Girl, Orange is the New Black, The Handmaid’s Tale, Ozark, Killing Eve Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy 37 Watson From the recent popularity of the anti-heroine in novels and films like Gone Girl to the treatment of complicit women and crime-as-rebellion in Hulu’s adaptation of The Handmaid’s Tale to the cultural watershed moments of the #TimesUp and #MeToo movements, there has been a groundswell of support for women seeking justice both within and outside the law. Behavior that once may have been dismissed as madness or instability—Beyoncé laughing wildly while swinging a baseball bat in her revenge-fantasy music video “Hold Up” in the wake of Jay-Z’s indiscretions comes to mind—can be examined with new understanding.
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Jude Akuwudike
www.hamiltonhodell.co.uk Jude Akuwudike Talent Representation Telephone Madeleine Dewhirst & Sian Smyth +44 (0) 20 7636 1221 [email protected] Address Hamilton Hodell, 20 Golden Square London, W1F 9JL, United Kingdom Television Title Role Director Production Company Delroy Grant (The Night MANHUNT Marc Evans ITV Studios Stalker) PLEBS Agrippa Sam Leifer Rise Films/ITV2 MOVING ON Dr Bello Jodhi May LA Productions/BBC THE FORGIVING EARTH Dr Busasa Hugo Blick BBC/Netflix CAROL AND VINNIE Ernie Dan Zeff BBC IN THE LONG RUN Uncle Akie Declan Lowney Sky KIRI Reverend Lipede Euros Lyn Hulu/Channel 4 THE A WORD Vincent Sue Tully Fifty Fathoms/BBC DEATH IN PARADISE Series 6 Tony Simon Delaney Red Planet/BBC CHEWING GUM Series 2 Alex Simon Neal Retort/E4 FRIDAY NIGHT DINNER Series 4 Custody Sergeant Martin Dennis Channel 4 FORTITUDE Series 2 & 3 Doctor Adebimpe Hettie Macdonald Tiger Aspect/Sky Atlantic LUCKY MAN Doctor Marghai Brian Kelly Carnival Films/Sky 1 UNDERCOVER Al James Hawes BBC CUCUMBER Ralph Alice Troughton Channel 4 LAW & ORDER: UK Marcus Wright Andy Goddard Kudos Productions HOLBY CITY Marvin Stewart Fraser Macdonald BBC Between Us (pty) Ltd/Precious THE NO.1 LADIES DETECTIVE AGENCY Oswald Ranta Charles Sturridge Films MOSES JONES Matthias Michael Offer BBC SILENT WITNESS Series 11 Willi Brendan Maher BBC BAD GIRLS Series 7 Leroy Julian Holmes Shed Productions for ITV THE LAST DETECTIVE Series 3 Lemford Bradshaw David Tucker Granada HOLBY CITY Derek Fletcher BBC ULTIMATE FORCE Series 2 Mr Salmon ITV SILENT WITNESS: RUNNING ON
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Sexuality Is Fluid''[1] a Close Reading of the First Two Seasons of the Series, Analysing Them from the Perspectives of Both Feminist Theory and Queer Theory
''Sexuality is fluid''[1] a close reading of the first two seasons of the series, analysing them from the perspectives of both feminist theory and queer theory. It or is it? An analysis of television's The L Word from the demonstrates that even though the series deconstructs the perspectives of gender and sexuality normative boundaries of both gender and sexuality, it can also be said to maintain the ideals of a heteronormative society. The [1]Niina Kuorikoski argument is explored by paying attention to several aspects of the series. These include the series' advertising both in Finland and the ("Seksualność jest płynna" - czy rzeczywiście? Analiza United States and the normative femininity of the lesbian telewizyjnego "The L Word" z perspektywy płci i seksualności) characters. In addition, the article aims to highlight the manner in which the series depicts certain characters which can be said to STRESZCZENIE : Amerykański serial telewizyjny The L Word stretch the normative boundaries of gender and sexuality. Through (USA, emitowany od 2004) opowiada historię grupy lesbijek this, the article strives to give a diverse account of the series' first two i biseksualnych kobiet mieszkających w Los Angeles. Artykuł seasons and further critical discussion of The L Word and its analizuje pierwsze dwa sezony serialu z perspektywy teorii representations. feministycznej i teorii queer. Chociaż serial dekonstruuje normatywne kategorie płci kulturowej i seksualności, można ______________________ również twierdzić, że podtrzymuje on ideały heteronormatywnego The analysis in the article is grounded in feminist thinking and queer społeczeństwa. Przedstawiona argumentacja opiera się m. in. na theory. These theoretical disciplines provide it with two central analizie takich aspektów, jak promocja serialu w Finlandii i w USA concepts that are at the background of the analysis, namely those of oraz normatywna kobiecość postaci lesbijek.
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REALLY BAD GIRLS of the BIBLE the Contemporary Story in Each Chapter Is Fiction
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Broadcast Bulletin Issue Number 38
* Ofcom broadcast bulletin Issue number 38 4 July 2005 Ofcom broadcast bulletin 38 4 July 2005 Contents Introduction 3 Standards cases In Breach 4 Resolved 6 Other programmes not in breach/outside remit 11 2 Ofcom broadcast bulletin 38 4 July 2005 Introduction The Communications Act 2003 allows for the codes of the legacy regulators to remain in force until such time as Ofcom developed its own Code. Ofcom consulted in 2004 on its new Code. Ofcom’s Broadcasting Code has now been published and will take effect from 25 July 2005 (with the exception of Rule 10.17 which comes into effect on 1 July 2005). The Broadcasting Code can be found at http://www.ofcom.org.uk/tv/ifi/codes/bcode/ The codes and rules currently in force for broadcast content are: Advertising and Sponsorship Code (Radio Authority) News & Current Affairs Code and Programme Code (Radio Authority) Code on Standards (Broadcasting Standards Commission) Code on Fairness and Privacy (Broadcasting Standards Commission) Programme Code (Independent Television Commission) Programme Sponsorship Code (Independent Television Commission) Rules on the Amount and Scheduling of Advertising From time to time adjudications relating to advertising content may appear in the bulletin in relation to areas of advertising regulation which remain with Ofcom (including the application of formal sanctions by Ofcom). Copies of the full adjudications for Upheld and Not Upheld Fairness and Privacy cases can be found on the Ofcom website: www.ofcom.org.uk 3 Ofcom broadcast bulletin 38 4 July 2005 Standards cases In Breach The Best of James Stannage The Hits,16 March 2005, 03:20 Introduction This programme mixed music with highlights of the presenter’s late night ‘phone-in, originally broadcast on Key 103 FM (Manchester).
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Bad Girls Kindle
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David Yelland Photo: Catherine Shakespeare Lane
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A VEIL of DEVIANCE: an EXAMINATION of GENDER PERFORMANCE and MEDIA ENGAGEMENT in REALITY TELEVISION a Thesis Presented to the Fa
A VEIL OF DEVIANCE: AN EXAMINATION OF GENDER PERFORMANCE AND MEDIA ENGAGEMENT IN REALITY TELEVISION A Thesis Presented to the faculty of the Department of Sociology California State University, Sacramento Submitted in partial satisfaction of the requirements for the degree of MASTER OF ARTS in Sociology by Korin Raquel Vallejo SPRING 2014 A VEIL OF DEVIANCE: AN EXAMINATION OF GENDER PERFORMANCE AND MEDIA ENGAGEMENT IN REALITY TELEVISION A Thesis by Korin Raquel Vallejo Approved by: ______________________________________, Committee Chair Dr. Todd Migliaccio _______________________________________, Second Reader Dr. Kevin Wehr _____________________________ Date ii Student: Korin Raquel Vallejo I certify that this student has met the requirements for format contained in the University format manual, and that this thesis is suitable for shelving in the Library and credits is to be awarded for the thesis. _____________________________, Graduate Coordinator ____________________ Dr. Amy Lui Date Department of Sociology iii Abstract of A VEIL OF DEVIANCE: AN EXAMINATION OF GENDER PERFORMANCE AND MEDIA ENGAGEMENT IN REALITY TELEVISION by Korin Raquel Vallejo Following Norman K. Denzin’s theory on media message transmittance and audience engagement this study sought to examine the gendered messages being communicated through the reality television program “The Bad Girls Club”. Season four of the show was transcribed in an ethnographic approach; with efforts to fully engulf in the culture and sub-society of “The Bad Girls Club” and with the self-proclaimed deviant women on the program through a social constructionist lens. To grasp media engagement, two public viewings were held in which the researcher played participant observer in order to gage the audiences’ interaction, receipt, and implantation of gendered messages.
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Girl Trouble 2
A documentary by Lexi Leban and Lidia Szajko DISCUSSION GUIDE for Youth Audiences Developed and written by Faith Rogow, Ph.D., Insighters Educational Consulting, in collaboration with Outreach Extensions The Reentry National Media Outreach Campaign is funded by a generous grant from The Annie E. Casey Foundation. TABLE OF CONTENTS Page The Film: GIRL TROUBLE 2 Filmmakers’ Statement 3 Introduction 5 Discussion Topics Background 6 The People We Meet The Center for Young Women’s Development Statistics Audiences / Potential Partners Using GIRL TROUBLE 9 Things to Consider as You Plan Preparing the Group Exploring the Film 12 General Discussion Prompts Worksheet: Thinking About GIRL TROUBLE 13 - 14 Discussion Questions by Topic Discussion Questions by Individual Resources 21 GIRL TROUBLE Production 23 Production Staff Production Advisors GIRL TROUBLE Discussion Guide Page 1 THE FILM: GIRL TROUBLE This groundbreaking documentary chronicles four years in the lives of three teenage girls entangled in San Francisco’s juvenile justice system. Stephanie is pregnant and has an outstanding warrant for running away from a group home. Shangra is torn between taking care of her mother, a homeless recovering heroin addict, and taking care of herself. Sheila, whose father and siblings have been in and out of jail, risks arrest and jail time by selling and using drugs. These girls, and many like them, aren’t just at-risk -- they are in deep trouble. Trying to change their lives, the girls work part-time at the innovative Center for Young Women’s Development, an organization run by young women who have faced similar challenges. As the girls confront seemingly impossible problems and pivotal decisions, the Center’s 22-year-old executive director, Lateefah Simon, is often their only support and mentor.
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Evansk2013.Pdf (998.5Kb)
UNIVERSITY OF CENTRAL OKLAHOMA Edmond, Oklahoma Dr. Joe C. Jackson College of Graduate Studies Unabashedly Imperfect A THESIS SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of MASTER OF FINE ARTS IN CREATIVE WRITING By Katt Evans Edmond, Oklahoma 2013 ACKNOWLEDGEMENTS I would like to thank: My mom. She has been my rock, loudest cheerleader, number one fan, and biggest supporter my entire life. She is my hero and who I want to be when I grow up, and without her, none of this would be possible. My great-grandmother. Though I grew up in a single-parent home, she devoted her time, energy, and heart to making sure I knew the love of two parents. My little brother, my SugarBear. Through you, I learned selflessness, how to love another more than myself, and what being an adult really means. Morbid Daisy, Licious, and NaniBear. I would not be alive today without your love and support; you have stuck by through so much, even when others walked away. I love you all; you are my God-given twin and sisters. My Wolfish Love. You never put up with my shit, and you allowed me to see myself through unbiased eyes. The naysayers, the abusers, the teasers, the lying jerks, the people who called me a freak, and the teachers who told me I couldn’t accomplish my dreams. Every time you knocked me down, you made me that much more determined to achieve success and to do so without crushing the dreams, spirit, or heart of another person.
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“Bad Girls Changed My Life”: Homonormativity in a Women's
Kent Academic Repository Full text document (pdf) Citation for published version Herman, Didi (2003) ”Bad Girls Changed My Life”: Homonormativity in a Women’s Prison Drama. Critical Studies in Media Communication, 20 (2). pp. 141-159. ISSN 1529-5036. DOI https://doi.org/10.1080/07393180302779 Link to record in KAR https://kar.kent.ac.uk/1570/ Document Version UNSPECIFIED Copyright & reuse Content in the Kent Academic Repository is made available for research purposes. Unless otherwise stated all content is protected by copyright and in the absence of an open licence (eg Creative Commons), permissions for further reuse of content should be sought from the publisher, author or other copyright holder. Versions of research The version in the Kent Academic Repository may differ from the final published version. Users are advised to check http://kar.kent.ac.uk for the status of the paper. Users should always cite the published version of record. Enquiries For any further enquiries regarding the licence status of this document, please contact: [email protected] If you believe this document infringes copyright then please contact the KAR admin team with the take-down information provided at http://kar.kent.ac.uk/contact.html Kent Academic Repository – http://kar.kent.ac.uk “Bad Girls Changed My Life”: Homonormativity in a Women’s Prison Drama Didi Herman â Critical Studies in Media Communication 20 (2) pp 141 – 159 2003 Not Published Version Abstract: This paper explores representations of sexuality in a popular British television drama. The author argues that the program in question, Bad Girls, a drama set in a women’s prison, conveys a set of values that are homonormative.
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