Samira Wiley
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Transgender Representation on American Narrative Television from 2004-2014
TRANSJACKING TELEVISION: TRANSGENDER REPRESENTATION ON AMERICAN NARRATIVE TELEVISION FROM 2004-2014 A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY by Kelly K. Ryan May 2021 Examining Committee Members: Jan Fernback, Advisory Chair, Media and Communication Nancy Morris, Media and Communication Fabienne Darling-Wolf, Media and Communication Ron Becker, External Member, Miami University ABSTRACT This study considers the case of representation of transgender people and issues on American fictional television from 2004 to 2014, a period which represents a steady surge in transgender television characters relative to what came before, and prefigures a more recent burgeoning of transgender characters since 2014. The study thus positions the period of analysis as an historical period in the changing representation of transgender characters. A discourse analysis is employed that not only assesses the way that transgender characters have been represented, but contextualizes American fictional television depictions of transgender people within the broader sociopolitical landscape in which those depictions have emerged and which they likely inform. Television representations and the social milieu in which they are situated are considered as parallel, mutually informing discourses, including the ways in which those representations have been engaged discursively through reviews, news coverage and, in some cases, blogs. ii To Desmond, Oonagh and Eamonn For everything. And to my mother, Elaine Keisling, Who would have read the whole thing. iii ACKNOWLEDGMENTS Throughout the research and writing of this dissertation, I have received a great deal of support and assistance, and therefore offer many thanks. To my Dissertation Chair, Jan Fernback, whose feedback on my writing and continued support and encouragement were invaluable to the completion of this project. -
Reminder List of Productions Eligible for the 90Th Academy Awards Alien
REMINDER LIST OF PRODUCTIONS ELIGIBLE FOR THE 90TH ACADEMY AWARDS ALIEN: COVENANT Actors: Michael Fassbender. Billy Crudup. Danny McBride. Demian Bichir. Jussie Smollett. Nathaniel Dean. Alexander England. Benjamin Rigby. Uli Latukefu. Goran D. Kleut. Actresses: Katherine Waterston. Carmen Ejogo. Callie Hernandez. Amy Seimetz. Tess Haubrich. Lorelei King. ALL I SEE IS YOU Actors: Jason Clarke. Wes Chatham. Danny Huston. Actresses: Blake Lively. Ahna O'Reilly. Yvonne Strahovski. ALL THE MONEY IN THE WORLD Actors: Christopher Plummer. Mark Wahlberg. Romain Duris. Timothy Hutton. Charlie Plummer. Charlie Shotwell. Andrew Buchan. Marco Leonardi. Giuseppe Bonifati. Nicolas Vaporidis. Actresses: Michelle Williams. ALL THESE SLEEPLESS NIGHTS AMERICAN ASSASSIN Actors: Dylan O'Brien. Michael Keaton. David Suchet. Navid Negahban. Scott Adkins. Taylor Kitsch. Actresses: Sanaa Lathan. Shiva Negar. AMERICAN MADE Actors: Tom Cruise. Domhnall Gleeson. Actresses: Sarah Wright. AND THE WINNER ISN'T ANNABELLE: CREATION Actors: Anthony LaPaglia. Brad Greenquist. Mark Bramhall. Joseph Bishara. Adam Bartley. Brian Howe. Ward Horton. Fred Tatasciore. Actresses: Stephanie Sigman. Talitha Bateman. Lulu Wilson. Miranda Otto. Grace Fulton. Philippa Coulthard. Samara Lee. Tayler Buck. Lou Lou Safran. Alicia Vela-Bailey. ARCHITECTS OF DENIAL ATOMIC BLONDE Actors: James McAvoy. John Goodman. Til Schweiger. Eddie Marsan. Toby Jones. Actresses: Charlize Theron. Sofia Boutella. 90th Academy Awards Page 1 of 34 AZIMUTH Actors: Sammy Sheik. Yiftach Klein. Actresses: Naama Preis. Samar Qupty. BPM (BEATS PER MINUTE) Actors: 1DKXHO 3«UH] %LVFD\DUW $UQDXG 9DORLV $QWRLQH 5HLQDUW] )«OL[ 0DULWDXG 0«GKL 7RXU« Actresses: $GªOH +DHQHO THE B-SIDE: ELSA DORFMAN'S PORTRAIT PHOTOGRAPHY BABY DRIVER Actors: Ansel Elgort. Kevin Spacey. Jon Bernthal. Jon Hamm. Jamie Foxx. -
Ira Finkelstein's Day of the Dead
FEATURE FILM IRA FINKELSTEIN’S DAY OF THE DEAD A TIMELESS COMING-OF-AGE COMEDY ADVENTURE CONNECTING GENERATIONS AND CULTURES Story by The Von Piglet Sisters Sue Corcoran & Angie Louise Written by Angie Louise Produced by Deborah Moore & Jane Charles Directed by Sue Corcoran LogLine Ira J. Finkelstein is afraid of growing up. At 13, Ira is expected to “be a man”. All Ira really wants is to get close to Maria, the beautiful Mexican-American girl who is his scene partner in 8th grade drama class. When Maria’s family is unexpectedly deported, Ira hits the road with his Grandpa Sam to find her. Ira learns what it really means to be a man and stand up for what he believe in: family, adventure, and love without borders. Synopsis Ira J. Finkelstein is afraid of growing up. At 13, Ira is expected to “be a man”. All Ira really wants is to get close to Maria, the beautiful Mexican-American girl who is his scene partner in 8th grade drama class. When Maria’s mother is unexpectedly deported, Maria follows her back to Mexico. Panicked, Ira ditches school to search for her but is busted by Grandpa Sam. When Ira begs for his help, Grandpa Sam is unable to resist Ira’s plea as well as his own longing for a youthful adventure. Grandfather and Grandson hit the road in Grandpa’s ’67 Chevy, bound for Mexico and Maria. In Mexico, things go wrong fast. Sam and Ira are robbed by a gang of teen punks, have a run-in with the police and land in jail after a midnight Day of the Dead festival. -
Press-Release-The-Endings.Pdf
Publication Date: September 4, 2018 Media Contact: Diane Levinson, Publicity [email protected] 212.354.8840 x248 The Endings Photographic Stories of Love, Loss, Heartbreak, and Beginning Again By Caitlin Cronenberg and Jessica Ennis • Foreword by Mary Harron 11 x 8 in, 136pp, Hardcover, Photographs throughout ISBN 978‐1‐4521‐5568‐5, $29.95 Featuring some of today’s most celebrated actresses, including Julianne Moore, Alison Pill, and Imogen Poots, the photographic vignettes in The Endings capture female characters in the throes of emotional transformation. Photographer Caitlin Cronenberg and art director Jessica Ennis created stories of heartbreak, relationship endings, and new beginnings—fictional but often inspired by real life—and set out to convey the raw emotions that are exposed in these most vulnerable states. Cronenberg and Ennis collaborated with each actress to develop a character, build the world she inhabits, and then photograph her as she lived the role before the camera. Patricia Clarkson depicts a woman meeting her younger lover in the campus library—even though they both know the relationship has been over since before it even began. Juno Temple portrays a broken‐hearted woman who engages in reckless and self‐destructive behavior to numb the sadness she feels. Keira Knightley ritualistically cleanses herself and her home after the death of her great love. Also featured are Jennifer Jason Leigh, Danielle Brooks, Tessa Thompson, Noomi Rapace, and many more. These intimate images combine the lush beauty and rich details of fashion photographs with the drama and narrative energy of film stills. Telling stories of sadness, loneliness, anger, relief, rebirth, freedom, and happiness, they are about relationship endings, but they are also about beginnings. -
2017 Annual Report
Annual 2017 Report Our ongoing investment into increasing services for the senior In 2017, The Actors Fund Dear Friends, members of our creative community has resulted in 1,474 senior and helped 13,571 people in It was a challenging year in many ways for our nation, but thanks retired performing arts and entertainment professionals served in to your generous support, The Actors Fund continues, stronger 2017, and we’re likely to see that number increase in years to come. 48 states nationally. than ever. Our increased activities programming extends to Los Angeles, too. Our programs and services With the support of The Elizabeth Taylor AIDS Foundation, The Actors Whether it’s our quick and compassionate response to disasters offer social and health services, Fund started an activities program at our Palm View residence in West ANNUAL REPORT like the hurricanes and California wildfires, or new beginnings, employment and training like the openings of The Shubert Pavilion at The Actors Fund Hollywood that has helped build community and provide creative outlets for residents and our larger HIV/AIDS caseload. And the programs, emergency financial Home (see cover photo), a facility that provides world class assistance, affordable housing 2017 rehabilitative care, and The Friedman Health Center for the Hollywood Arts Collective, a new affordable housing complex and more. Performing Arts, our brand new primary care facility in the heart aimed at the performing arts community, is of Times Square, The Actors Fund continues to anticipate and in the development phase. provide for our community’s most urgent needs. Mission Our work would not be possible without an engaged Board as well as the efforts of our top notch staff and volunteers. -
Netflix and the Development of the Internet Television Network
Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation. -
Sxsw Film Festival Announces 2018 Features and Opening Night Film a Quiet Place
SXSW FILM FESTIVAL ANNOUNCES 2018 FEATURES AND OPENING NIGHT FILM A QUIET PLACE Film Festival Celebrates 25th Edition Austin, Texas, January 31, 2018 – The South by Southwest® (SXSW®) Conference and Festivals announced the features lineup and opening night film for the 25th edition of the Film Festival, running March 9-18, 2018 in Austin, Texas. The acclaimed program draws thousands of fans, filmmakers, press, and industry leaders every year to immerse themselves in the most innovative, smart and entertaining new films of the year. During the nine days of SXSW 132 features will be shown, with additional titles yet to be announced. The full lineup will include 44 films from first-time filmmakers, 86 World Premieres, 11 North American Premieres and 5 U.S. Premieres. These films were selected from 2,458 feature-length film submissions, with a total of 8,160 films submitted this year. “2018 marks the 25th edition of the SXSW Film Festival and my tenth year at the helm. As we look back on the body of work of talent discovered, careers launched and wonderful films we’ve enjoyed, we couldn’t be more excited about the future,” said Janet Pierson, Director of Film. “This year’s slate, while peppered with works from many of our alumni, remains focused on new voices, new directors and a range of films that entertain and enlighten.” “We are particularly pleased to present John Krasinski’s A Quiet Place as our Opening Night Film,” Pierson added.“Not only do we love its originality, suspense and amazing cast, we love seeing artists stretch and explore. -
Ciara's Nominations
CIARA’S NOMINATIONS - DRAMA OUTSTANDING DRAMA SERIES Better Call Saul Chilling Adventures of Sabrina Maniac Orange is the New Black Pose Sharp Objects When They See Us OUTSTANDING LEAD ACTOR IN A DRAMA OUTSTANDING LEAD ACTRESS IN A DRAMA • Bob Odenkirk – Better Call Saul • Kiernan Shipka – Chilling Adventures of • Jonah Hill – Maniac Sabrina • Jharrel Jerome – When They See Us • Jodie Comer – Killing Eve • Sandra Oh – Killing Eve • Emma Stone – Maniac • Mj Rodriguez – Pose • Amy Adams – Sharp Objects OUTSTANDING SUPPORTING ACTOR IN A DRAMA OUTSTANDING SUPPORTING ACTRESS IN A DRAMA • Jonathan Banks – Better Call Saul • Rhea Seehorn – Better Call Saul • Evan Peters – Pose • Danielle Brooks – Orange is the New Black • Billy Porter – Pose • Patricia Clarkson – Sharp Objects • Asante Blackk – When They See Us • Eliza Scanlen – Sharp Objects • Freddie Miyares – When They See Us • Felicity Huffman – When They See Us • Michael K. Williams – When They See Us • Niecy Nash – When They See Us OUTSTANDING WRITING IN A DRAMA OUTSTANDING DIRECTING IN A DRAMA • Better Call Saul: “Winner”, written by Peter • Better Call Saul: “Something Stupid”, directed Gould & Thomas Schnauz by Deborah Chow • Chilling Adventures of Sabrina: “Chapter • Maniac: “Furs by Sebastian”, directed by Cary Three: The Trial of Sabrina Spellman”, Joji Fukunaga written by Ross Maxwell • Orange is the New Black: “Who Knows Better • Killing Eve: “Nice and Neat”, written by Than I”, directed by Michael Trim Emerald Fennell • Pose: “Love is the Message”, directed by Janet • Maniac: -
The Revenge of Jenji Kohan
ThThe Reveevengnge of Jenjnji KoKohanan Smart. Funny. Obsessive. Subversive. How the creator of the hit TV shows Weeds and Orange Is the New Black smoked the doubters and got the last laugh By Paul Hond enji Kohan ’91CC is a rare bird among With the latest season of Orange in the can, the television showrunners: blue-haired and building is quiet today, and Kohan is relaxed. Her female, a punkish Jewish earth mother with private offi ce exudes warmth and comfort, as does a darkly comic vision so basic to her nature Kohan herself. Her hair is the vivid indigo of blue that the goblin of political correctness velvet. Her cat-eye glasses could have been teleported Jshrinks in her presence. As a writer, she is fearless. from a 1962 mahjong game. Objects on her desk She will go there, and keep going. attest to a fondness for thrift-shop fl otsam and novelty “I fi nd the funny in everything, especially the inap- doodads: two Magic 8 Balls, a Weeds condom, and a propriate,” she says. “Maybe it’s my survival technique.” beanbag emblazoned with an unprintable four-letter Kohan’s company, Tilted Productions, is based in word starting with the letter C. central Los Angeles, in a Spanish Colonial–style build- Life wasn’t always this good. “I spent the fi rst part of ing of pink stucco, arched windows, and iron grillwork. my life very frustrated, feeling patronized, and fi ghting Built in 1926 as the Masque Playhouse, it was later injustice, and it doesn’t work when you’re young,” renamed the Hayworth Theatre (legend has it that Kohan says, seated in an armchair with her feet tucked Rita Hayworth’s father once ran a dance studio there). -
GLAAD Where We Are on TV (2020-2021)
WHERE WE ARE ON TV 2020 – 2021 WHERE WE ARE ON TV 2020 – 2021 Where We Are on TV 2020 – 2021 2 WHERE WE ARE ON TV 2020 – 2021 CONTENTS 4 From the office of Sarah Kate Ellis 7 Methodology 8 Executive Summary 10 Summary of Broadcast Findings 14 Summary of Cable Findings 17 Summary of Streaming Findings 20 Gender Representation 22 Race & Ethnicity 24 Representation of Black Characters 26 Representation of Latinx Characters 28 Representation of Asian-Pacific Islander Characters 30 Representation of Characters With Disabilities 32 Representation of Bisexual+ Characters 34 Representation of Transgender Characters 37 Representation in Alternative Programming 38 Representation in Spanish-Language Programming 40 Representation on Daytime, Kids and Family 41 Representation on Other SVOD Streaming Services 43 Glossary of Terms 44 About GLAAD 45 Acknowledgements 3 WHERE WE ARE ON TV 2020 – 2021 From the Office of the President & CEO, Sarah Kate Ellis For 25 years, GLAAD has tracked the presence of lesbian, of our work every day. GLAAD and Proctor & Gamble gay, bisexual, transgender, and queer (LGBTQ) characters released the results of the first LGBTQ Inclusion in on television. This year marks the sixteenth study since Advertising and Media survey last summer. Our findings expanding that focus into what is now our Where We Are prove that seeing LGBTQ characters in media drives on TV (WWATV) report. Much has changed for the LGBTQ greater acceptance of the community, respondents who community in that time, when our first edition counted only had been exposed to LGBTQ images in media within 12 series regular LGBTQ characters across both broadcast the previous three months reported significantly higher and cable, a small fraction of what that number is today. -
“Maybe Black Folk Do Got a Problem with Bein' Punctual”
“Maybe Black Folk do got a Problem with bein’ Punctual” A Phonetic Analysis of Orange is the New Black ISABELL DERKSEN1 Given the broader context of US-produced media, in which black women are vastly underrepresented (see Women's Media Center), the Netflix series Orange is the New Black (OITNB) represents a comparatively racially diverse cast (see Brinkhurst-Cuff). In addition to racial diversity, each individual character has their own accent, style, and individual behavior. This is arguably part of why the series attracts such a large viewership and why it gathers so much media attention. While the series’ portrayal of different racial groups and their corresponding accents might be notable from a representational standpoint, we can take a closer look at the linguistic behavior of individual characters and their specific linguistic representations from a sociolinguistic standpoint. In observing the actors’ linguistic behavior outside the show impressionistically, for example, there is a remarkable difference between the actors’ spontaneous speech production and their staged and stylized linguistic behavior in portraying characters on the show. Specifically, African American actresses Samira Wiley and Adrienne C. Moore both seem to use features commonly associated with African American English (AAE) in the show, but less so in spontaneous speech (e.g. youtube videos). This impressionistic observation is investigated more closely in this paper. The major aim of this study is to examine the linguistic behavior of African American women in the Netflix series OITNB by focusing on the linguistic depiction, in order to find out how linguistic performances play a role in reproducing stereotypical African American personae. -
Why Stonewall Still Matters…
PrideLife Magazine 2019 / pridelifemagazine 2019 @pridelife YOUR ESSENTIAL th 2020 ELECTION 50 PRIMER stonewall P.68 anniversaryspecial issue STEP INSIDE THE NIGHT OF WHY THE RIOTS STONEWALL P.50 STILL MATTERS… THE FIERCE WITH EXCLUSIVE AND TRIBUTES FROM FABULOUS Asia Kate Dillon Jesse Tyler Ferguson Madonna Christian Siriano Kamala Harris Indigo Girls Gus Kenworthy Bethany Meyers George Takei BILLY Margaret Cho Rufus Wainwright Carson Kressley Adore Delano Daya And more... PORTERP.46 PLUS! INTRODUCING THE INTERPRIDELIFE SEAL OF APPROVAL P.14 B:17.375” T:15.75” S:14.75” Important Facts About DOVATO Tell your healthcare provider about all of your medical conditions, This is only a brief summary of important information about including if you: (cont’d) This is only a brief summary of important information about DOVATO and does not replace talking to your healthcare provider • are breastfeeding or plan to breastfeed. Do not breastfeed if you SO MUCH GOES about your condition and treatment. take DOVATO. You should not breastfeed if you have HIV-1 because of the risk of passing What is the Most Important Information I Should ° You should not breastfeed if you have HIV-1 because of the risk of passing What is the Most Important Information I Should HIV-1 to your baby. Know about DOVATO? INTO WHO I AM If you have both human immunodeficiency virus-1 (HIV-1) and ° One of the medicines in DOVATO (lamivudine) passes into your breastmilk. hepatitis B virus (HBV) infection, DOVATO can cause serious side ° Talk with your healthcare provider about the best way to feed your baby.