English 1130 Summer 2016 Dr. Roger Clark
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Binge-Reviews? the Shifting Temporalities of Contemporary TV Criticism
Old Dominion University ODU Digital Commons Communication & Theatre Arts Faculty Communication & Theatre Arts Publications 2016 Binge-Reviews? The hiS fting Temporalities of Contemporary TV Criticism Myles McNutt Old Dominion University Follow this and additional works at: https://digitalcommons.odu.edu/communication_fac_pubs Part of the Critical and Cultural Studies Commons, and the Publishing Commons Repository Citation McNutt, Myles, "Binge-Reviews? The hiS fting Temporalities of Contemporary TV Criticism" (2016). Communication & Theatre Arts Faculty Publications. 15. https://digitalcommons.odu.edu/communication_fac_pubs/15 Original Publication Citation McNutt, M. (2016). Binge-Reviews? The hiS fting Temporalities of Contemporary TV Criticism. Film Criticism, 40(1), 1-4. doi: 10.3998/fc.13761232.0040.120 This Article is brought to you for free and open access by the Communication & Theatre Arts at ODU Digital Commons. It has been accepted for inclusion in Communication & Theatre Arts Faculty Publications by an authorized administrator of ODU Digital Commons. For more information, please contact [email protected]. FILM CRITICISM Binge-Reviews? The Shifting Temporalities of Contemporary TV Criticism Myles McNutt Skip other details (including permanent urls, DOI, citation information) Volume 40, Issue 1, January 2016 DOI: http://dx.doi.org/10.3998/fc.13761232.0040.120 Permissions When should television criticism happen? The answer used to be pretty simple for critics: reviews were published before a series premiered, with daily or -
Mad Men, Episode 10, "Hands & Knees" Tim Anderson Old Dominion University, [email protected]
Old Dominion University ODU Digital Commons Communication & Theatre Arts Faculty Communication & Theatre Arts Publications 9-29-2010 "Listen. Do You Want to Know a Secret?": Mad Men, Episode 10, "Hands & Knees" Tim Anderson Old Dominion University, [email protected] Follow this and additional works at: https://digitalcommons.odu.edu/communication_fac_pubs Part of the Television Commons Repository Citation Anderson, Tim, ""Listen. Do You Want to Know a Secret?": Mad Men, Episode 10, "Hands & Knees"" (2010). Communication & Theatre Arts Faculty Publications. 27. https://digitalcommons.odu.edu/communication_fac_pubs/27 Original Publication Citation Anderson, T. (2010, September 29). "Listen. Do you want to know a secret?": Mad Men, episode 10, "Hands & Knees" [Blog post]. Retrieved from http://blog.commarts.wisc.edu/2010/09/29/listen-do-you-want-to-know-a-secret-mad-men-episode-10-hands- knees/ This Blog is brought to you for free and open access by the Communication & Theatre Arts at ODU Digital Commons. It has been accepted for inclusion in Communication & Theatre Arts Faculty Publications by an authorized administrator of ODU Digital Commons. For more information, please contact [email protected]. “Listen. Do You Want to Know a Secret?”: Mad Men, Episode 10, “Hands & Knees” September 29, 2010 By Tim Anderson | The most striking use of pop music in this season of Mad Men appears at the beginning of episode eight, “The Summer Man”. Opening with a montage of Don Draper after he has begun to reclaim his life we hear The Rolling Stones 1965 summer release, “(I can’t get no) Satisfaction”. Arguably their signature song of the 1960s, the Stones’ three minutes and forty four seconds of audible discontent is layered onto a somewhat rehabilitated Draper who swims and takes on writing exercises. -
Stoneback Thesis.Pdf
“Women Usually Want to Please”: A Linguistic Analysis of Femininity and Power in Mad Men by Stephanie Stoneback A thesis presented for the B.A. degree with Honors in The Department of English University of Michigan Winter 2019 © 2019 Stephanie Christine Stoneback To my mom. Acknowledgments First of all, I would like to thank my thesis advisor, Anne Curzan, for her unwavering support, guidance, and understanding throughout this process. Anne, without your encouragement, listening ear, criticism, and patience, I would have never been able to produce such exciting analysis that I am proud of. To me, you embody what it means to be a powerful woman and you are such an inspiration as I complete my undergraduate work and enter a new phase of life. Thank you so much for that. Next, I must thank our program director, Adela Pinch, for her helpful tips and constant reminders that everything was going to be okay. Adela, in many ways, you have shaped my education as an English major at the University of Michigan—you taught me the Introduction to Literary Studies course, a course on Jane Austen, and both semesters of Thesis Writing. Thank you so much for the years of engaged learning, critical thinking, and community building. I would also like to thank some of the staff members of the New England Literature Program, who helped instill in me a confidence in my writing and in my self that I never knew I was capable of. Aric Knuth, Ryan Babbitt, Mark Gindi, Maya West, and Kristin Gilger, each of you had a distinct and lasting impact on me, in some unspoken and perhaps sacred ways. -
THE CIRCUITRY of MEMORY: TIME and SPACE in MAD MEN by Molly Elizabeth Lewis B.A., Honours, the University of British Columbia, 2
THE CIRCUITRY OF MEMORY: TIME AND SPACE IN MAD MEN by Molly Elizabeth Lewis B.A., Honours, The University of British Columbia, 2013 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Film Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) August 2015 © Molly Elizabeth Lewis, 2015 Abstract Memory is central to Mad Men (Matthew Weiner 2007-15) as a period piece set in the 1960s that activates the memories of its viewers while also depicting the subjective memory processes of its protagonist Donald Draper (Jon Hamm). Narratively, as much as Don may try to move forward and forget his past, he ultimately cannot because the memories will always remain. Utilizing the philosophy of Henri Bergson, I reveal that the series effectively renders Bergson’s notion of the coexistence of past and present in sequences that journey into the past without ever leaving the present. Mad Men ushers in a new era of philosophical television that is not just perceived, but also remembered. As a long-form serial narrative that intricately layers past upon present, Mad Men is itself an evolving memory that can be revisited by the viewer who gains new insight upon each viewing. Mad Men is the ideal intersection of Bergson’s philosophy of the mind and memory and Gilles Deleuze’s cinematic philosophy of time. The first chapter simply titled “Time,” examines the series’ first flashback sequence from the episode “Babylon,” in it finding the Deleuzian time- image. The last chapter “Space,” seeks to identify the spatial structure of the series as a whole and how it relates to its slow-burning pace. -
Sisterhood in the '60S: Joan, Peggy, and a Feminist Awakening Tracy Lucht Iowa State University, [email protected]
Journalism Publications Greenlee School of Journalism and Communication 2014 Sisterhood in the '60s: Joan, Peggy, and a Feminist Awakening Tracy Lucht Iowa State University, [email protected] Follow this and additional works at: http://lib.dr.iastate.edu/jlmc_pubs Part of the Feminist, Gender, and Sexuality Studies Commons, Gender, Race, Sexuality, and Ethnicity in Communication Commons, History of Gender Commons, Journalism Studies Commons, Social History Commons, United States History Commons, and the Women's History Commons The ompc lete bibliographic information for this item can be found at http://lib.dr.iastate.edu/ jlmc_pubs/5. For information on how to cite this item, please visit http://lib.dr.iastate.edu/ howtocite.html. This Book Chapter is brought to you for free and open access by the Greenlee School of Journalism and Communication at Iowa State University Digital Repository. It has been accepted for inclusion in Journalism Publications by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. Sisterhood in the '60s: Joan, Peggy, and a Feminist Awakening Abstract The period between World War II and the women's liberation movement was marked by palpable tension over social changes and gender ideology-an aspect of the postwar era well-known to historians but usually overlooked in the mass media. Television shows such as Leave It to Beaver (1957-1963), Father Knows Best (1954-1960), and The Adventures ofOzzie and Harriet (1952-1966) imagined a time that never existed, presenting the nation's women as domestic and suburban, happily embracing their roles as homemakers and submitting to their husband's authority (Coontz, 2000). -
"The Strong, Silent Type": Tony Soprano, Don Draper, and the Construction of the White Male Antihero in Contemporary Television Drama
"THE STRONG, SILENT TYPE": TONY SOPRANO, DON DRAPER, AND THE CONSTRUCTION OF THE WHITE MALE ANTIHERO IN CONTEMPORARY TELEVISION DRAMA James Beale A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2014 Committee: Becca Cragin, Advisor Esther Clinton Jeremy Wallach © 2014 James Beale All Rights Reserved iii ABSTRACT Becca Cragin, Advisor In this thesis, I examine intertextuality present between The Sopranos and Mad Men, particularly in regards to each show’s protagonist. Tony Soprano and Don Draper are complex characters, each with their own conflicts, neuroses, and supporting characters, yet both men address a similar question: what does it mean to be a man in 21st century America? Both men deal with complex identities due to their pasts, exacerbated struggles due to their jobs, and most importantly, equally complex women who challenge their authority. While addressing issues of gender, I discuss the linkages present between each show’s creator, David Chase and Matthew Weiner, which speaks to the broader thematic overlap between the two dramas. Intertextuality, partially stemming from Weiner’s time in the Sopranos writing room under Chase, can help to interrogate television’s own auteur, the showrunner. I also analyze the white male antihero archetype as a whole, which has been popular on American television in the past fifteen years, as I trace the major conflicts to Robert Warshow’s formulation of the gangster as a tragic hero. For Warshow, though, the gangster ultimately worked as a straightforward morality tale – in these shows, the message of the antihero is deliberately muddled, crafting an intimate portrait of masculinity in crisis. -
Westerly Magazine
... a valuable addition to feminist literary studies. Margaret Harris, University of Sydney o -0 o.r) o.r) " co Constructing Gender: Feminism in Literary Studies is a collection of z essays, written from a range of theoretical perspectives, on works V)'" from the fourteenth century to the present day, examining the ways in which literature has played an integral part in constructing notions of gender - from medieval virgins to the 'modern woman', Lucy Dougan D. W. Collin Jane Southwell Andrew Lynch Hilary Fraser Amanda Netlelbeck Philippa Beckerling Tim Dolin Susan Midalia u'" 0<{ Ann Chance Carmel Macdonald Alex Segal '" R. S. White Grahame Veronica Brady '"LJ.J c- Christine Couche Ian Saunders c-o<{ ~ __~~ ______________________________________________~ ~ UNIVERSITY OF WESTERN AUSTRALIA PRESS TUART HOUSE NEDLANDS WESTERN AUSTRALIA 6009 TEL (09) 380 3670 FAX (09) 380 1027 CONTENTS WESTERLY VOLUME 39, No.4, SUMMER 1994 STORIES Arrival Pat Jacobs 23 In Yr Element Bronwen Morrison 25 Crossing Natalie Damjanovich-Napoleon 76 The Flowering Broombush Antonio Casella 130 The Summer Man Rosanne Dingli 135 POEMS Alec Choate 5 Vasso Kalamaras 93 Diane Fahey 8 Philip Salom 105 Jeff Guess 10 Fay Zwicky 117 Jena Woodhouse 20 Hal Colebatch 120 Danny Gardner 48 Graeme Hetherington 121 Antigone Kefala 49 Peter Porter 139 ARTICLES Aphra Carolyn Polizzotto 11 Perth and Naples - Two "Corrupted" Mediterranean Cities Roberta Buffi 14 Olive Oil and Air-conditioned Culture Michael Symons 27 An Historical Geography of Mediterranean Cuisines John Fitzpatrick 37 Memory and Absence: The Poetry of Antigone Kefala Michelle Tsokos 51 Notes of a Neo-Neanderthal: Egypt and Israel Hal Colebatch 61 Mount Olympus in Australia Ken Searle 70 Two Centres of Excellence in the Mediterranean George Seddon 81 Some Australian Italies Ros Pesman 95 The Bush and the Outback Through Italian Eyes Gaetano Rando 109 The Mediterranean in Mind: Bert Pribac, a Slovene Poet in Australia Igor Maver 123 REVIEWS George Seddon, "Searching for The Snowy" Sam Pickering 141 K.K. -
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Re:Search Indecent Proposals: A Historical Reading of Sexual Politics in Mad Men Mary Baker, University of Illinois at Urbana-Champaign ABSTRACT Mad Men (AMC 2007—), a critically acclaimed television series set in the midst of the prosperous New York advertising industry during the early to mid-1960s, often explores the psychological, romantic, and work-related implications of conflicting identities. This project focuses on how Mad Men constructs the workplace and sexual identities of two of its secondary characters, Sal Salvatore, the Italian-American and closeted homosexual Art Director of Mad Men’s fictional advertising agency, and Joan Harris, a white, heterosexual woman who heads the agency’s secretarial pool for most of the series. Both Sal and Joan experience workplace sexual propositioning from important clients during the series, but the outcomes of their individual situations are vastly different. This article compares Sal and Joan’s situations in order to explore how Mad Men considers and values male homosexuality and active female sexuality in the context of both 1960s and contemporary social mores. KEYWORDS historical representation, Mad Men, sexual politics, sexual propositioning, television fiction Volume 1, Issue 1 | 2014 1 Re:Search Approximately seven years have passed since Mad Men (AMC 2007-) joined the ranks of television shows contributing to the critically dubbed second coming of TV’s Golden Age. Predominant critical opinion cites The Sopranos (HBO 1999-2007) as the fundamental source of TV’s cultural renaissance, but indicates shows like The Wire (HBO 2002-2008), 30 Rock (NBC 2006-2013), Breaking Bad (AMC 2008-2013), The Walking Dead (AMC 2010-), Homeland (Showtime 2011-), and Mad Men as evidence of television’s current status as the medium of quality today: “We are living in good TV times. -
Pontifícia Universidade Católica Mariana Ayres Tavares Mad
Pontifícia Universidade Católica do Rio de Janeiro Mariana Ayres Tavares Mad Men: Uma história cultural da Publicidade Dissertação de Mestrado Dissertação apresentada como requisito parcial para obtenção do grau de Mestre pelo Programa de Pós- graduação em Comunicação Social do Departamento de Comunicação da PUC-Rio. Orientador: Prof. Everardo Pereira Guimarães Rocha Rio de Janeiro, Setembro de 2016 Pontifícia Universidade Católica do Rio de Janeiro Mariana Ayres Tavares Mad Men: Uma história cultural da Publicidade Dissertação de Mestrado Dissertação apresentada como requisito parcial para a obtenção do grau de Mestre pelo Programa de Pós- Graduação em Comunicação Social do Departamento de Comunicação Social do Centro de Ciências Sociais da PUC-Rio. Aprovada pela Comissão Examinadora abaixo assinada. Prof. Everardo Pereira Guimarães Rocha Orientador Departamento de Comunicação Social - PUC-Rio Profa. Lígia Campos de Cerqueira Lana Departamento de Comunicação Social - PUC-Rio Prof. Guilherme Nery Atem Departamento de Ciências Sociais - PUC-Rio Prof.ª Mônica Herz Vice-Decana de Pós-Graduação do CCS Rio de Janeiro, 23 de setembro de 2016 Todos os direitos reservados. É proibida a reprodução total ou parcial do trabalho sem autorização da universidade, da autora e do orientador. Mariana Ayres Tavares Graduou-se em Comunicação Social, com habilitação em Publicidade, na Universidade Federal Fluminense em 2012. Cursou especialização em Pesquisa de Mercado e Opinião Pública na Universidade do Estado do Rio de Janeiro, em 2014. Ficha Catalográfica Tavares, Mariana Ayres Mad Men : uma história cultural da publicida- de / Mariana Ayres Tavares Vasconcelos ; orien- tadora: Everardo Pereira Guimarães Rocha. – 2016. 118 f. : il. color. ; 30 cm Dissertação (mestrado)–Pontifícia Universi- dade Católica do Rio de Janeiro, Departamento de Comunicação Social, 2016. -
Université De Montréal La Série Mad Men: Une Élégie De La Révolution
Université de Montréal La série Mad Men: une élégie de la révolution créative dans les années soixante. Par Felicia Traistaru Département d’histoire Faculté des arts et des sciences Mémoire présenté à la Faculté des études supérieures En vue de l’obtention du grade de Maitre ès art (M.A) en histoire Août 2017 © Felicia Mihali, 2017 Université de Montréal Faculté des études supérieures Ce mémoire intitulé : La série Mad Men et la publicité dans les années soixante : une élégie de la révolution créative. Présenté par Felicia Traistaru A été évalué par un jury composé par les personnes suivantes : Yakov Rabkin Président-rapporteur Bruno Ramirez Directeur de recherche Marta Boni Membre du jury iii RÉSUMÉ Ce mémoire est consacré à l’analyse de la télésérie américaine Mad Men en tant que reflet de la révolution créative aux États-Unis. À travers la fictive agence de publicité Sterling Cooper & Partners et de son charismatique directeur artistique, Don Draper, la série personnifie la culture corporatiste des cols blancs et les nouveaux défis encourus par l’homme de l’organisation dans les années soixante. Basée sur la méthode de l’historicisme, cette analyse historique met en évidence la manière dont Mad Men incarne cette décennie à partir des sources populaires telles que les romans, les films ou les magazines. Ce type de documents sont pris par les créateurs de la série comme l’expression des certaines valeurs et attitudes des années soixante mais aussi bien comme outil pour la critique des idées consacrées. Mad Men nous permet de comprendre la manière dont la révolution des techniques publicitaires se déroule dans le décor d’une société où les grands enjeux restent encore non résolus. -
Mad Men, Corporate Culture, and Violence Against Women
Greenlee School of Journalism and Journalism Publications Communication 12-1-2019 Mad Men, Corporate Culture, and Violence against Women Tracy Lucht Iowa State University, [email protected] Jane Marcellus Middle Tennessee State University Follow this and additional works at: https://lib.dr.iastate.edu/jlmc_pubs Part of the Domestic and Intimate Partner Violence Commons, Family, Life Course, and Society Commons, Film and Media Studies Commons, Gender and Sexuality Commons, Journalism Studies Commons, and the Women's Studies Commons The complete bibliographic information for this item can be found at https://lib.dr.iastate.edu/ jlmc_pubs/15. For information on how to cite this item, please visit http://lib.dr.iastate.edu/ howtocite.html. This Book Chapter is brought to you for free and open access by the Greenlee School of Journalism and Communication at Iowa State University Digital Repository. It has been accepted for inclusion in Journalism Publications by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. Mad Men, Corporate Culture, and Violence against Women Abstract Synthesizing Pierre Bourdieu’s concept of symbolic violence and Rosabeth Moss Kanter’s framework of corporate roles to examine Mad Men’s representation of women’s work, Tracy Lucht and Jane Marcellus investigate the show’s construction of the Secretary, Corporate Wife, and Token High-Level Woman in relation to symbolic violence, which looks beyond physical manifestations of violence to consider social relations that deny women’s subjectivity. Viewed through these paired theoretical lenses, the narrative arcs of women on Mad Men illustrate how work, appearance, social position, sexuality, and material property are appropriated and exchanged for male gain. -
Don, Betty and Jackie Kennedy
Cultural Studies Review volume 18 number 2 September 2012 http://epress.lib.uts.edu.au/journals/index.php/csrj/index pp. 188–206 Prudence Black and Catherine Driscoll 2012 Don, Betty and Jackie Kennedy On Mad Men and Periodisation PRUDENCE BLACK AND CATHERINE DRISCOLL UNIVERSITY OF SYDNEY This essay considers the use of period detail and historical reference in Mad Men and the importance of periodisation to its mode of address. The embrace of period detail in Mad Men is at once loving and fetishistic and it belongs, as in all period film and television, to the politics of the present. But how is it that we watch Mad Men and think it represents a period? Flashes of patterned wallpaper, whiskey neat, contact lining for kitchen drawers, Ayn Rand, polaroids, skinny ties, new Hilton hotels, and Walter Cronkite all evoke a time when the world and how we might live in it was different in powerful ways. They comprise the evocative period setting for the series’ central ethical dramas: Don Draper asks ‘What do women want?’ and dry old Roger Sterling can reply ‘Who cares?’ And it is as period drama that these ethical questions can offer a speculative political drama that at once disavows and proclaims its present-tense politics. The series begins with the start of the Kennedy administration in 1960 and consistently refers to an image of cultural revolution associated with both the ISSN 1837-8692 Kennedys and the 1960s. The story about the sixties which frames Mad Men centres on this image of cultural revolution periodised by new hopes and fears and by the decline of ‘the American dream’.