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The Representation of Latinas in Orange Is the New Black a Thesis
The Representation of Latinas in Orange Is the New Black A Thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts at George Mason University By Sarah Weatherford Millette Bachelor of Arts Furman University, 2011 Director: Ricardo F. Vivancos Pérez, Associate Professor Department of Modern and Classical Languages Spring Semester 2015 George Mason University Fairfax, VA ACKNOWLEDGEMENTS I would like to thank first and foremost my advisor and mentor, Dr. Ricardo F. Vivancos Pérez, who has believed in me, encouraged me, and never stopped challenging me. I would also like to thank Dr. Lisa Rabin and Dr. Michele Back for their guidance and their time. Thank you to my family and friends for understanding my less-than-social life these past few months. Finally, I would like to thank my new husband, Nick, for accepting the fact that this has been my first love and priority in our first year of marriage. ii TABLE OF CONTENTS Page Abstract................................................................................................................................ iv Introduction........................................................................................................................... 1 Thesis Overview ................................................................................................................... 9 Chapter One - Gender, Sexuality, and Interethnic Relationships in the Fictional Prison .. 12 Women in the US Prison System................................................................................. -
Emigrato Italiano Nel Cinema
Appunti di viaggio dell’emigrato italiano nel cinema Mirco Melanco Università di Padova 1- L’America, tra sogno e realismo cinematografico Nel 1917 Charlie Chaplin gira The Immigrant (L’emigrante), interpretato dallo stesso Chaplin e da Edna Purviance. L’indigenza spinge i due giovani protagonisti del film a partire in cerca di fortuna su un transatlantico diretto in America. Durante la faticosa traversata oceanica i due si incontrano e si innamorano. Per tutto il viaggio Chaplin difende con abilità e astuzia la dignità della ragazza e di sua madre, gravemente malata. L’arrivo a New York, introdotto dalla didascalia «The arrival in the land of liberty», avviene mentre lo sguardo dei poveracci sulla nave si volge verso la Statua della Libertà, immagine visibile solo nella copia originale, poi censurata quando il film venne criticato come antiamericano. Gli sfortunati sembrano allo stesso tempo impauriti e contenti, mentre l’obiettivo inquadra un cartellino posto al loro collo, lo stesso che identifica le bestie portate al macello. L’approdo avviene in un clima di intimidazione e Chaplin, osservando il comportamento dei funzionari addetti allo sbarco, sembra domandarsi se è proprio questo il Paese della Libertà. L’arrivo alla terra promessa non migliora la situazione economica della coppia e solo il fortunato ritrovamento di una monetina consente loro un pasto dignitoso. Anche qui li attende un futuro incerto, carico di dubbi e di preoccupazioni come accadeva in patria e, come prima, l’unica soluzione è rimboccarsi le maniche e adattarsi a qualsiasi lavoro. Come si può facilmente intuire il soggetto di The Immigrant funziona come schema basilare per numerosi altri film sull’emigrazione che vedremo innanzi: la sofferta partenza dalla patria, il carico di insidie, l’arrivo nella nuova terra vissuto spesso drammaticamente e il difficile inserimento nel nuovo contesto sociale. -
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 .................................................................................... -
ORANGE IS the NEW BLACK Season 1 Cast List SERIES
ORANGE IS THE NEW BLACK Season 1 Cast List SERIES REGULARS PIPER – TAYLOR SCHILLING LARRY BLOOM – JASON BIGGS MISS CLAUDETTE PELAGE – MICHELLE HURST GALINA “RED” REZNIKOV – KATE MULGREW ALEX VAUSE – LAURA PREPON SAM HEALY – MICHAEL HARNEY RECURRING CAST NICKY NICHOLS – NATASHA LYONNE (Episodes 1 – 13) PORNSTACHE MENDEZ – PABLO SCHREIBER (Episodes 1 – 13) DAYANARA DIAZ – DASCHA POLANCO (Episodes 1 – 13) JOHN BENNETT – MATT MCGORRY (Episodes 1, 2, 3, 4, 5, 6, 7, 9, 10, 11, 12, 13) LORNA MORELLO – YAEL MORELLO (Episodes 1, 2, 3, 4, 5, 6, 7, 8, 10, 11, 12, 13) BIG BOO – LEA DELARIA (Episodes 1, 2, 3, 4, 5, 6, 7, 9, 10, 11, 12, 13) TASHA “TAYSTEE” JEFFERSON – DANIELLE BROOKS (Episodes 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 12, 13) JOSEPH “JOE” CAPUTO – NICK SANDOW (Episodes 1, 2, 4, 6, 7, 8, 9, 10, 11, 12, 13) YOGA JONES – CONSTANCE SHULMAN (Episodes 1, 2, 4, 5, 6, 7, 9, 10, 11, 12, 13) GLORIA MENDOZA – SELENIS LEYVA (Episodes 1, 2, 4, 5, 6, 7, 8, 9, 11, 12, 13) S. O’NEILL – JOEL MARSH GARLAND (Episodes 1, 2, 3, 4, 5, 6, 7, 9, 10, 12, 13) CRAZY EYES – UZO ADUBA (Episodes 2, 3, 4, 5, 6, 8, 9, 10, 11, 12, 13) POUSSEY – SAMIRA WILEY (Episodes 2, 3, 4, 5, 6, 7, 8, 9, 10, 12, 13) POLLY HARPER – MARIA DIZZIA (Episodes 1, 2, 3, 5, 6, 7, 8, 9, 10, 12) JANAE WATSON – VICKY JEUDY (Episodes 1, 2, 3, 4, 7, 9, 10, 11, 12, 13) WANDA BELL – CATHERINE CURTIN (Episodes 1, 2, 3, 5, 6, 7, 9, 10, 11, 13) LEANNE TAYLOR – EMMA MYLES (Episodes 2, 3, 5, 6, 7, 9, 10, 11, 12, 13) NORMA – ANNIE GOLDEN (Episodes 2, 3, 5, 6, 7, 8, 9, 11, 12, 13) ALEIDA DIAZ – ELIZABETH RODRIGUEZ -
ORANGE IS the NEW BLACK – I Personaggi (Fino Alla Seconda Stagione)
ORANGE IS THE NEW BLACK – I personaggi (fino alla seconda stagione) A cura di Odamei Alex Vause: Alex Vause fa girare enormi quantità di droga e la testa a Piper Chapman, della quale è molta delizia e poco croce. Si ritrova fra le mura di Litchfield con la sua amante amata, salvo poi uscire per uno stratagemma processuale. Non si può dire che nel Queens se la passi meglio, così Piper fa in modo che possa tornare a soggiornare in un luogo più “ameno “ e sicuro. Laura Prepon, che interpreta Alex, è stata investita di “deitudine” dalle fans, alle quali provoca tachicardia, mancamenti, svenimenti e sconvolgimenti ormonali vari e assortiti ad ogni sua apparizione. Piper Chapman: detentrice, conquistatrice, “proprietaria” del cuore di Alex, della quale apprezza anche altre parti corporee, finge di odiarla in tutti i modi, arrivando al martirio, cioè fidanzandosi con Larry. Ma non c’è niente che riesca a tenere lontane le due fanciulle. Apparentemente dolce ed indifesa al suo arrivo a Litchfield, sfodera un istinto di sopravvivenza ed un’astuzia degni delle migliori volpi. Nicky Nichols: generosa elargitrice di piacere e piaceri alle compagne di detenzione, grazie a “mamma” Red ha divorziato dall’eroina ed è riuscita a resistere alle “tentazioni”. Ha un’agenda sulla quale annota scrupolosamente le “performances” delle sue partners. Galina “Red” Reznikov: rossa di capelli e russa di origini, è una donna d’onore che dirige la cucina e il contrabbando di generi vari, dal rasoio alle creme. La sua autorità ed il suo rapporto con le detenute vengono messi in serio pericolo dall’arrivo di Vee Parker, che si congeda da lei con un paio di souvenir non proprio graditi. -
Diversidad Entre Rejas: Estereotipos E Identidad De Género En La Ficción Televisiva Orange Is the New Black De Una Manera Sincrónica” (2014: 1)
° Comunicación y Medios N 37 (2018) www. comunicacionymedios.uchile.cl 79 Diversidad entre rejas: Estereotipos e identidad de género en la ficción televisiva Orange is the New Black Diversity behind bars: Gender stereotypes and identity in Orange is the New Black Leyre Eguskiza-Sesumaga. Universidad del País Vasco, Bilbao, España. [email protected] Resumen Abstract La multiplicidad de plataformas y canales en la The multiplicity of platforms and channels pre- Tercera Edad De Oro de la televisión ha genera- vailing in the Third Golden Age of television has do una expansión de la oferta ficcional, dando generated an expansion of fictional products, cabida a nuevos formatos, historias y persona- giving new formats, stories and characters their jes. Con un elenco mayoritariamente femenino, own place. Orange is the New Black, with a Orange is the New Black acerca a la audiencia mostly female cast, brings the audience closer la vida de un grupo de mujeres en prisión. Este to daily life of women in prison. This research trabajo de investigación ahonda en la represen- work delves into the representation of main cha- tación de la identidad de género de sus prota- racters’ gender identity, determining which fac- gonistas, determinando qué factores influyen tors affect the way these women are reflected. en dicho retrato. El análisis en profundidad de An in-depth analysis of fourteen female cha- catorce personajes femeninos detecta estereo- racters detects several stereotypes and values tipos y valores asociados al modelo heteronor- associated with the traditional heteronormative mativo. Sin embargo, la representación de los model. Nevertheless, prevailing social canons, cánones sociales imperantes, personificados a represented by the main character, open the través de la protagonista, abre la puerta a múl- door to multiple femininity models and give visi- tiples modelos de feminidad y a la visibilización bility to minority collectives. -
Copyright by Adolfo Rafael Mora 2017
Copyright by Adolfo Rafael Mora 2017 The Dissertation Committee for Adolfo Rafael Mora Certifies that this is the approved version of the following dissertation: SEEING COLOR AND TELEVISION: WHAT DO MILLENNIALS’ TELEVISION PRACTICES TELL US ABOUT POST-RACIALITY? Committee: Joseph D. Straubhaar, Supervisor Mary C. Beltrán Wenhong Chen Kevin Cokley Viviana del Carmen Rojas SEEING COLOR AND TELEVISION: WHAT DO MILLENNIALS’ TELEVISION PRACTICES TELL US ABOUT POST-RACIALITY? by Adolfo Rafael Mora Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2017 Dedication Para mi pequeña familia, both the nuclear and fictive one! Acknowledgements This research project was truly the result of creative collaboration and unconditional support of mi familia, which of course includes my PhD one. First, I must extend my gratitude to my mentors. Thank you Professor Straubhaar for all the talks about academia and life in general. I always felt welcomed and secure in your office. Dr. Wenhong Chen, I appreciate that you continuously made me question my methodology. The idea for this dissertation came from various lectures that Dr. Mary Beltrán carried about media and racelessness. Not only am I incredibly thankful for inspiring my scholarship but also for your theoretical guidance that tremendously shaped this dissertation. Professor Cokley, your literature suggestions helped me clarify what color, ethnicity, and race are. The best for last, right Dr. Viviana Rojas? It was you that created the opportunity for me to join the community at the University of Texas at Austin. -
Running Head: REPRESENTATIONS in ORANGE IS the NEW BLACK 1
Running head: REPRESENTATIONS IN ORANGE IS THE NEW BLACK 1 Representations in Orange Is the New Black Student's Name Language of Television Montclair State University April 27, 2017 REPRESENTATIONS IN ORANGE IS THE NEW BLACK 2 Abstract Representations are typically defined as something or someone that is being portrayed in place of something else. When discussing representations in the realm of television, it is outlined as the way that a group, community, topic, or idea is depicted from an ideology set forth by society. The critically acclaimed Netflix show, Orange Is the New Black, authentically represents aspects of race, gender and sexuality in its narrative and diverse cast of characters. These three components of the show are examples of intersectionality because they are social constructs that create the overlying theme of oppression and discrimination that the characters face in the show. “Enlightened Racism” by Sut Jhally and Justin Lewis discusses the negative stereotypes that African-Americans face by the way they are depicted on television. “Television, Representation and Gender” by Julie D’Acci explores how representations in television shape how audiences view society’s perception of gender and sexuality. Both essays apply to how Orange Is the New Black integrates the three topics into their narrative and character storylines. Ultimately, this essay highlights how Orange Is the New Black realistically depicts race, gender and sexuality and how it commendably gives voice to those who are misrepresented in television and media. Keywords: Orange Is the New Black, representations, television representations, portrayals, character portrayals, race, gender, sexuality, shows, television, characters REPRESENTATIONS IN ORANGE IS THE NEW BLACK 3 Representations in Orange is the New Black In the world of television, characters are not only important to the narration of the story, but are also important to add structure and depth to the world that is created. -
THE ADVENTURES of ELMO in GROUCHLAND Mandy Patinkin
THE ADVENTURES OF ELMO IN GROUCHLAND Mandy Patinkin. Vanessa Williams. Sonia Manzano. Roscoe Orman. Alison Bartlett-O'Reilly. Ruth Buzzi. Emilio Delgado. Loretta Long. Bob McGrath. VOICEOVERS. Kevin Clash. Fran Brill. Stephanie D'Abruzzo. Dave Goelz. Joseph Mazzarino. Jerry Nelson. Carmen Osbahr. Martin P. Robinson. David Rudman. Caroll Spinney. Steve Whitmire. Frank Oz. THE ADVENTURES OF SEBASTIAN COLE Margaret Colin. Clark Gregg. Aleksa Palladino. John Shea. Adrian Grenier. Joan Copeland. Tom Lacy. Marni Lustig. Rory Cochrane. Gabriel Macht. Levon Helm. Russel Harper. Greg Haberny. Peter McRobbie. Merrit Wever. Marisol Padilla Sanchez. Famke Janssen. Tennison Hightower. Nicole Ari Parker. Graeme Malcolm. Dan Tedlie. Miguel Najera. Jane Jensen. C.S. O'Brien. Nikki Uberti. Joe Lisi. Kip Williams. AFTER LIFE Arata. Erika Oda. Susumu Terajima. Taketoshi Naito. Kyoko Kagawa. Kei Tani. Takashi Naito. Sadao Abe. Kisuke Shoda. Kazuko Shirakawa. Yusuke Iseya. Hisako Hara. Sayaka Yoshino. Kotaro Shiga. Natsuo Ishidou. Akio Yokoyama. Tomomi Hiraiwa. Yasuhiro Kasamatsu. AGNES BROWNE Anjelica Huston. Marion O'Dwyer. Ray Winstone. Arno Chevrier. Gerard McSorley. Niall O'Shea. Ciaran Owens. Roxanna Williams. Carl Power. Mark Power. Gareth O'Connor. James Lappin. Tom Jones. June Rodgers. Jennifer Gibney. Eamonn Hunt. Richie Walker. Sean Fox. Steve Blount. Gavin Kelty. Arthur Lappin. Brendan O'Carroll. Katriona Boland. Bernadette Lattimore. Terry Byrne. Joe Hanley. Paddy McCarney. Clodagh Long. Fionnuala Murphy. Frank Melia. Virginia Cole. Olivia Tracey. Joe Pigott. Cristen Kauffman. Frank McCusker. Cecil Bell. Peter Dix. Anna Megan. Joe Gallagher. Maria Hayden. Aedin Moloney. Malachy Connolly. Pauline McCreery. Chrissie McCreery. Noirín Ni Riain. Joanne Sloane. Keith Murtagh. Jim Smith. Tara Van Zyl. Anne Bushnell. -
Intersectionality in Anglophone Television Series and Cinema
Intersectionality in Anglophone Television Series and Cinema Intersectionality in Anglophone Television Series and Cinema Edited by Kévin Drif and Georges-Claude Guilbert Intersectionality in Anglophone Television Series and Cinema Edited by Kévin Drif and Georges-Claude Guilbert This book first published 2020 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2020 by Kévin Drif, Georges-Claude Guilbert and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-5983-1 ISBN (13): 978-1-5275-5983-7 TABLE OF CONTENTS Acknowledgments .................................................................................... vii Foreword ................................................................................................. viii Kévin Drif & Georges-Claude Guilbert Chapter One ................................................................................................ 1 Intersectionality Is the New Black Anne Crémieux Chapter Two ............................................................................................. 13 Deux récits des lendemains de premiere guerre mondiale – approche intersectionnelle de Peaky Blinders et Downton -
Academy of Motion Picture Arts and Sciences
Academy of Motion Picture Arts and Sciences Reminder List of Eligible Releases for Distinguished Achievements during 2006 http://www.oscars.org/79academyawards/reminder/ Reminder List of Productions Eligible for Awards All films that have qualified for consideration for 2006 Academy Awards in the non-specialized categories are listed alphabetically by title. Voters making selections in their own branch categories list only film titles on their ballots, not the individuals responsible for the various achievements. For that reason, as well as for reasons of printing time and convenience of using this pamphlet, full credit rosters are not provided for the listed films. An exception to the above exists in the four Acting categories, where simply listing titles would not provide enough voting information. Actors Branch members filling out their Nominations ballots must indicate both titles and the particular performers they are voting for. For that reason, the Reminder List provides a listing of up to fifty cast members for each film. Pictures eligible in the Animated Feature Film, Documentary Feature and Foreign Language Film categories are also eligible in the Best Picture category, provided they meet the qualifications for the category. Foreign Language films are eligible for awards in other categories provided they meet the requirements of Awards Rules Two and Three. Copyright © 2006 by the Academy of Motion Picture Arts and Sciences Oscar statuette copyright 1941 by, and registered trademark of, Academy of Motion Picture Arts and Sciences. All rights reserved. ISBN 0-942102-49-5 First published in 2006 Printed in the United States of America ABOMINABLE Matt McCoy. -
Human Instincts Talented on Many Plains, Aleksa Palladino Is What We Like to Call a True Artist
098 COMBUSTION Written by ASHLEY CAPUTO TELEVISION 099 HUMAN INSTINCTS TALENTED ON MANY PLAINS, ALEKSA PALLADINO IS WHAT WE LIKE TO CALL A TRUE ARTIST appiness and sadness are emotions we, as humans, have no other choice but to feel. For some people Growing up in Manhattan, Aleksa claims, “There wasn’t much to do besides run around the hallways those emotions are not only felt, but embedded and stamped so close to the surface that you can and get in trouble. Which is how I got into music. I didn’t have a backyard to play in so everything became Halmost touch it and see it surrounding their aura. It is haunting and dark, but not always scary. These more about ‘What can I do in my room?’ people are a part of a rare selection of humans who are both gifted and cursed with the ability to carry the Aleksa is a self-taught musician, getting her first instrument when she was nine years old — a small pain and sorrow that others dismiss or refuse to feel. They are, rather, the emotional pickers who nestle the toy guitar with plastic strings. By the time she was 12, she was playing large acoustic guitars an image dif- brute most cannot bear, and have done so for generations. This group is widely known as artists. ficult to imagine looking at her small frame and tiny fingers. Referring to Aleksa Palladino as an actress or musician just does not seem deserving in an age when we as- On her decision to avoid going to school for either singing or acting, Aleksa explains she doesn’t like be- sociate such vocations in the realm of an almost-factious Hollywood.