Phyllis Nagy on Writing the Script for ‘Carol’
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Dead but Not Powerless Series to Be Published but It Was Worth the Has a Fast Pace and Commands Your Atten- Words As “Odiferous” and “Prickle.” Do 18 Wait
August 17, 2018 | Volume XVI, Issue 8 “First and foremost, the foundation of my life is my vocation. I’m very clear that credits his Buddhist tools of compassion I was born to be the priest that I am – it Living His Most Authentic Life and authenticity with helping him to sit with centers me, and I often have to go back to people who have undergone traumatic ex- that. As a priest/activist: how do I culti- covered, then you have access to their tal- Buddhist practitioner. When the LGBTQ periences. vate my humanity and help others do the ent …” community came together in the wake of While advancing professionally, Mer- same? That anchors me.” – REV. MErrICK It is vintage Merrick to be determined a number of murders of transwomen and rick had always struggled to nav- MOSES to bring his community up with him, to be formed an Advisory Council to reach igate his identity, eventually BY SAGE PIPER an example for others. This had been his out to city officials he was there, identifying himself as Last week, the Baltimore City way ever since he returned and he was the natural pick for gender-nonconforming Board of Estimates made A profile of to Baltimore from New York State’s Attorney Marilyn Mos- Of many in his 30s. To steady history when they lifted the in 2001. At that point he was by to hire as Victim’s Advo- hats – himself he used Merrick health-insurance exclusion Merrick Moses, following a romance. The cate early in her first term. -
Story by Rhiannon Kirkland, Illustrations by Jen Grond Editorial and Letters Editor-In-Chief: Cam Cotton-O’Brien 220-7752 [email protected]
81,9(56,7<2)&$/*$5< 92/80( _ ,668( 12 _ -81( _ I WWANTANT OOUTUT hen Josh Stieber to separate out the people he was supposed to 5,000 miles by foot and bicycle, and expects was deployed in be fi ghting from civilians. to take eight months. February 2007 as “You don’t know who’s going to attack you “If I’m saying the military is the wrong way a part of the surge and a lot of times, when you get hit or attacked, to solve problems, then I need to show what in Iraq, he was un- you don’t even see who did it,” said Stieber. the right answer is,” he said. “So this trip is aware that what he “Oft en times you end up attacking and hurting about visiting a lot of diff erent organizations Wwas going to experience would change who the people who had nothing to do with it. that focus on bringing people together and he was and how he saw the world. He came “I learned a lot more about people and being proactive and dedicated to solving back transformed, an advocate of non-vio- that it doesn’t matter what country you’re problems in the world non-violently.” lence and opposed to the surge he had been from or if you have a uniform on or not, it’s As Stieber travels across the U.S., he plans a part of. about how you treat people,” he continued. to showcase 12 charitable organizations. He Stieber joined the U.S. -
Material Girls High-Interest Fabrics Were a Major Focus of Some of Fall’S Most Imaginative Collections
s s RETAIL: Misses’ ACCESSORIES: NEWS: category faces tough Pressing the Trovata, customers, page 12. reset button at Forever Baselworld,s 21 trial page 6. showdown, page 2. EYE: Eating right when eating out, s page 16. Women’s Wear Daily • The Retailers’ Daily Newspaper • April 13, 2009 • $3.00 WAccessories/Innerwear/LegwearwDMONdAY Material Girls High-interest fabrics were a major focus of some of fall’s most imaginative collections. And few were as intricate The Shifting Paradigm: as Laura and Kate Mulleavy’s construction site-inspired textiles for Rodarte. “We wanted to play with the idea of deconstructing a home,” Laura said. Their collection, a Rules Being Redefined beautiful collage of marbleized, distressed and laminated fabrics, mimicked everything from insulation to duct tape. Here, a marbleized silk tulle and green polyacrylic lamé For Fashion and Retail with a silver laminated linen. For more materials, see pages 4 and 5. By WWD Staff The old financial tricks and merchandising sleights of hand aren’t going to work anymore. Fashion companies were quick enough to cut expenditures, pare store openings and lean on suppliers to survive the first year of the recession and the start of the credit crisis. But shifting consumer values and brutal economic realities are forcing both the weak and strong to reconsider their reason for being and how they do business. The paradigm in fashion is shifting. Well- established consumer segments are all changing independently and the industry is scrambling to keep up. The proof is everywhere, from First Lady Michelle Obama’s penchant for J. Crew to Jil Sander’s transformation into fast-fashion maven and luxury’s nosedive. -
Patricia Highsmith's Queer Disruption: Subverting Gay Tragedy in the 1950S
Patricia Highsmith’s Queer Disruption: Subverting Gay Tragedy in the 1950s By Charlotte Findlay A thesis submitted to Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Arts in English Literature Victoria University of Wellington 2019 ii iii Contents Acknowledgements ………………………………………………………………..……………..iv Abstract……………………………………………………………………………………………v Introduction………………………………………………………………………………………..1 1: Rejoicing in Evil: Queer Ambiguity and Amorality in The Talented Mr Ripley …………..…14 2: “Don’t Do That in Public”: Finding Space for Lesbians in The Price of Salt…………………44 Conclusion ...…………………………………………………………………………………….80 Works Cited …………..…………………………………………………………………………83 iv Acknowledgements Thanks to my supervisor, Jane Stafford, for providing always excellent advice, for helping me clarify my ideas by pointing out which bits of my drafts were in fact good, and for making the whole process surprisingly painless. Thanks to Mum and Tony, for keeping me functional for the last few months (I am sure all the salad improved my writing immensely.) And last but not least, thanks to the ladies of 804 for the support, gossip, pad thai, and niche literary humour I doubt anybody else would appreciate. I hope your year has been as good as mine. v Abstract Published in a time when tragedy was pervasive in gay literature, Patricia Highsmith’s 1952 novel The Price of Salt, published later as Carol, was the first lesbian novel with a happy ending. It was unusual for depicting lesbians as sympathetic, ordinary women, whose sexuality did not consign them to a life of misery. The novel criticises how 1950s American society worked to suppress lesbianism and women’s agency. It also refuses to let that suppression succeed by giving its lesbian couple a future together. -
Graduate Celebration
2021 GRADUATE CELEBRATION GRADUATE CELEBRATION PROGRAM Friday, June 11, 2021 CLASS OF 2021 DEPARTMENT OF THEATER MUSICAL PERFORMANCE WHEN I GROW UP, FROM MATILDA THE MUSICAL MUSIC AND LYRICS BY TIM MINCHIN PERFORMED BY WALKER BRINSKELE, RIVA BABE BRODY, KIARAH DAVIS, TALIA GLOSTER, JOI MCCOY, CAROLINE PERNICK, HANNAH ROSE, ABE SOANE WELCOME AND RECOGNITION OF MARSHALS BRIAN KITE INTERIM DEAN, UCLA SCHOOL OF THEATER, FILM AND TELEVISION 2021 SPEECHES GENE BLOCK UCLA CHANCELLOR STEVE ANDERSON INTERIM CHAIR, DEPARTMENT OF FILM, TELEVISION AND DIGITAL MEDIA DOMINIC TAYLOR ACTING CHAIR, DEPARTMENT OF THEATER DEMI RENEE KIRKBY VALEDICTORIAN, DEPARTMENT OF THEATER TIFFANY MARGARET ROWSE VALEDICTORIAN, DEPARTMENT OF FILM, TELEVISION AND DIGITAL MEDIA LATIN HONORS RECOGNITION BRIAN KITE KEYNOTE SPEAKER NILO CRUZ PULITZER PRIZE-WINNING PLAYWRIGHT RECOGNITIONS BRIAN KITE CELEBRATION VIDEO UCLA SCHOOL OF THEATER, FILM AND TELEVISION PRESENTATION OF DEGREE CANDIDATES BRIAN KITE FINAL REMARKS UCLA SCHOOL OF THEATER, FILM AND TELEVISION ACKNOWLEDGES THE GABRIELINO/TONGVA PEOPLES AS THE TRADITIONAL LAND CARETAKERS OF THE LOS ANGELES BASIN AND SOUTHERN CHANNEL ISLANDS. AS A LAND GRANT INSTITUTION, UCLA ALSO PAYS RESPECT TO TONGVA ANCESTORS, ELDERS AND RELATIVES - PAST, PRESENT AND EMERGING. LETTER FROM THE PRESIDENT MICHAEL V. DRAKE, M.D. Congratulations, UCLA Class of 2021! It is my honor to join your family, friends, and the entire University of California community in celebrating you and your wonderful accomplishment. Amid historically challenging circumstances across the globe, you have worked hard, persisted and persevered, in pursuit of your UC education. I hope you will always take great pride in what you have achieved at the University of California, and in being a part of the UC family for life. -
Wmc Investigation: 10-Year Analysis of Gender & Oscar
WMC INVESTIGATION: 10-YEAR ANALYSIS OF GENDER & OSCAR NOMINATIONS womensmediacenter.com @womensmediacntr WOMEN’S MEDIA CENTER ABOUT THE WOMEN’S MEDIA CENTER In 2005, Jane Fonda, Robin Morgan, and Gloria Steinem founded the Women’s Media Center (WMC), a progressive, nonpartisan, nonproft organization endeav- oring to raise the visibility, viability, and decision-making power of women and girls in media and thereby ensuring that their stories get told and their voices are heard. To reach those necessary goals, we strategically use an array of interconnected channels and platforms to transform not only the media landscape but also a cul- ture in which women’s and girls’ voices, stories, experiences, and images are nei- ther suffciently amplifed nor placed on par with the voices, stories, experiences, and images of men and boys. Our strategic tools include monitoring the media; commissioning and conducting research; and undertaking other special initiatives to spotlight gender and racial bias in news coverage, entertainment flm and television, social media, and other key sectors. Our publications include the book “Unspinning the Spin: The Women’s Media Center Guide to Fair and Accurate Language”; “The Women’s Media Center’s Media Guide to Gender Neutral Coverage of Women Candidates + Politicians”; “The Women’s Media Center Media Guide to Covering Reproductive Issues”; “WMC Media Watch: The Gender Gap in Coverage of Reproductive Issues”; “Writing Rape: How U.S. Media Cover Campus Rape and Sexual Assault”; “WMC Investigation: 10-Year Review of Gender & Emmy Nominations”; and the Women’s Media Center’s annual WMC Status of Women in the U.S. -
Ruth Prawer Jhabvala's Adapted Screenplays
Absorbing the Worlds of Others: Ruth Prawer Jhabvala’s Adapted Screenplays By Laura Fryer Submitted in fulfilment of the requirements of a PhD degree at De Montfort University, Leicester. Funded by Midlands 3 Cities and the Arts and Humanities Research Council. June 2020 i Abstract Despite being a prolific and well-decorated adapter and screenwriter, the screenplays of Ruth Prawer Jhabvala are largely overlooked in adaptation studies. This is likely, in part, because her life and career are characterised by the paradox of being an outsider on the inside: whether that be as a European writing in and about India, as a novelist in film or as a woman in industry. The aims of this thesis are threefold: to explore the reasons behind her neglect in criticism, to uncover her contributions to the film adaptations she worked on and to draw together the fields of screenwriting and adaptation studies. Surveying both existing academic studies in film history, screenwriting and adaptation in Chapter 1 -- as well as publicity materials in Chapter 2 -- reveals that screenwriting in general is on the periphery of considerations of film authorship. In Chapter 2, I employ Sandra Gilbert’s and Susan Gubar’s notions of ‘the madwoman in the attic’ and ‘the angel in the house’ to portrayals of screenwriters, arguing that Jhabvala purposely cultivates an impression of herself as the latter -- a submissive screenwriter, of no threat to patriarchal or directorial power -- to protect herself from any negative attention as the former. However, the archival materials examined in Chapter 3 which include screenplay drafts, reveal her to have made significant contributions to problem-solving, characterisation and tone. -
Drake Magazine Is Published with the Support of the Board of Student Lindsay Fullington Matt Nelson Communications
drake SPRING 2009 magazine drakemagazine.com ROUGH NIGHT? SURVIVE YOUR MORNING AFTER 18 tips every RECESSIONISTA must know 3 alumni who’ve made it big CONTENTS CONTENTS departments features 12 30 52 YOUR MORNING AFTER SURVIVAL GUIDE 32 Save these quick tips for your next troubling case of the morning afters. Find out what to do the morning after: YOU HAVE A ONE-NIGHT STAND YOU GET INKED YOU CATCH YOUR BOYFRIEND CHEATING YOU HAVE UNPROTECTED SEX YOU LOSE YOUR WALLET YOU FINISH A KILLER WORKOUT YOU PULL AN ALL-NIGHTER IN TRANSITION 38 Transsexual college students are still working for equal treatment on campus. BITS & PIECES MUSIC PHOTO ESSAY 22 06 THE SLACKER’S GUIDE 12 CHAIRLIFT TAKES OFF RECESSIONISTA 42 TO COLLEGE This band has gone from Apple ad FOLKS Cutting back on spending is oh-so-hott. Check out these tips on how to fit to the top in no time. schoolwork into your party schedule. 26 GLOSS & GLITZ 14 ROCK OUT Living InStyle comes naturally 07 SIMPLY SMITTEN Check out where you can hear some DIRTY DIALING 46 for this Drake grad. Working as a Phone Sex Operator This PDA-friendly accessory will of the hottest live music in the country. requires more than sultry tones. spice up the cold winter months. 28 THE PEN IS MIGHTIER Meet the biggest (Drake) bulldog 08 BURN BABY, BURN SPARE CHANGE of the silver screen. Find out how to lose weight without really trying. 16 TO GIVE OR NOT TO GIVE 30 Kickin’ IT Learn what’s okay and what’s too Star kicker Billy Cundiff tells us how 09 BIT OF LIT much when it comes to giving at work. -
Sketchy Lesbians: "Carol" As History and Fantasy
Swarthmore College Works Film & Media Studies Faculty Works Film & Media Studies Winter 2015 Sketchy Lesbians: "Carol" as History and Fantasy Patricia White Swarthmore College, [email protected] Follow this and additional works at: https://works.swarthmore.edu/fac-film-media Part of the Film and Media Studies Commons Recommended Citation Patricia White. (2015). "Sketchy Lesbians: "Carol" as History and Fantasy". Film Quarterly. Volume 69, Issue 2. 8-18. DOI: 10.1525/FQ.2015.69.2.8 https://works.swarthmore.edu/fac-film-media/52 This work is brought to you for free by Swarthmore College Libraries' Works. It has been accepted for inclusion in Film & Media Studies Faculty Works by an authorized administrator of Works. For more information, please contact [email protected]. FEATURES SKETCHY LESBIANS: CAROL AS HISTORY AND FANTASY Patricia White Lesbians and Patricia Highsmith fans who savored her 1952 Headlining a film with two women is considered box of- novel The Price of Salt over the years may well have had, like fice bravery in an industry that is only now being called out me, no clue what the title meant. The book’s authorship was for the lack of opportunity women find both in front of and also murky, since Highsmith had used the pseudonym Claire behind the camera. The film’s British producer Liz Karlsen, Morgan. But these equivocations only made the book’s currently head of Women in Film and Television UK, is out- lesbian content more alluring. When published as a pocket- spoken about these inequities. Distributor Harvey Weinstein sized paperback in 1952, the novel sold nearly one million took on the risk in this case, banking on awards capital to copies, according to Highsmith, joining other suggestive counter any lack of blockbuster appeal. -
Chairliftmothdigitalbooklet.Pdf
Saxophone by Danny Meyer MPC, Drum Programming, Marimba, and Guitar by Patrick Wimberly Vocals, Synth, and Sampling by Caroline Polachek Saxophone by Danny Meyer Keyboards, Drums, Percussion, and Bass by Robin Hannibal Saxophone by Danny Meyer Additional Production by Cecil Frena Drums, Synths, Bass, Vocals, and Horn Arrangement by Patrick Wimberly Guitar by Joey Postiglione and Kurt Feldman Spoken Intro Vocal by Miles B.A. Robinson Vocals, Additional Bass Programming, and Additional Drum Programming by Bass by David “Dj” Ginyard MPC, Acoustic Guitar, Synth, Drums, and Vocals by Patrick Wimberly Caroline Polachek Trumpet by John Lake Vocals, Synth, and Sampling by Caroline Polachek Guitar, Drums, Programming, Synth, Percussion, and Vocals by Patrick Wimberly Vocals, Synth, Drum Programming, Bass Arrangement, Bongos, and Shaker by Caroline Polachek Horn Arrangement by Caroline Polachek and Patrick Wimberly Guitar by Joel Van Dijk Bass by David “Dj” Ginyard Guitar by Joel Van Dijk Saxophone by Danny Meyer Additional Drums and Percussion by Robin Hannibal Keyboards, Drums, and Percussion by Robin Hannibal Guitar by Joey Postiglione Violin by Emily Holden MPC, 808, Hi-Hats, Programming, Percussion, and Synths by Patrick Wimberly Drums, Guitar, Synth, Programming, and Percussion by Patrick Wimberly MPC, Bass, Guitar, and Synth by Patrick Wimberly Spoken Vocal by Juri Onuki Vocals, Bass, Synth, Drum Programming, Bongos, and Laptop Mic Percussion by Vocals, Synth, and Piano by Caroline Polachek Vocals, Synth, Sampling, and Bass Arrangement by Caroline Polachek MPC, Bass, and Synth by Patrick Wimberly Vocals, Synth, Sampling, Violin Arrangement, and Castanets by Caroline Polachek Caroline Polachek All songs © 2015 Avant-Garcon Publishing and Patrick Wimberly Publishing, admin. -
Sexism from Page to Screen: How Hollywood Screenplays Inscribe Gender
Networking Knowledge Sexism From Page to Screen (Jun. 2017) Sexism From Page to Screen: How Hollywood Screenplays Inscribe Gender DR RADHA O’MEARA, University of Melbourne ABSTRACT This article analyses how characters are described in recent Hollywood screenplays, and notes that female characters are routinely described very differently than male characters. Male characters are commonly named and described expansively, whereas female characters are often unnamed, described meagrely, highly sexualised and infantalised. How characters are described in screenplays matters, because it impacts on production practices, the nature of workplaces, the films produced, and the gender representations we see daily on our screens. Conceptualizing this as a problem of screenwriting rather than an abstract problem of representation helps us imagine and enact change for people both imagined and real. KEYWORDS screenplays, sexism, gender, feminism, Hollywood, screenwriting, representation Introduction: Hollywood is Sexist…In Ways We Haven’t Even Explored Yet In this article, I argue that sexist representations of women on screen are already well formed before a woman steps in front of a camera, before a single frame is shot. By analysing Hollywood screenplays, we can see how women are imagined by the writers of the world’s biggest screen industry. And it is not pretty. The representation of women in screenplays recently came to popular attention with the Twitter feed @FemScriptIntros, where American film producer Ross Putnam tweets descriptions of female characters from unproduced scripts he reads, anonymized with the character name JANE. It received a great deal of media attention (Wagner 2016, Hunt 2016, Brown 2016, Dockterman 2016). The quotations published in the @FemScriptIntros twitter feed effectively demonstrate a pattern of women valued for their youth, beauty and sexuality. -
Undergraduate Scholarship and Creative Activity 2017
WINTHROP UNIVERSITY UNDERGRADUATE SCHOLARSHIP & CREATIVE ACTIVITY 2017 1 “Creativity requires input, and that’s what research is. You’re gathering material with which to build.” – Gene Luen Yang, American cartoonist “There is nothing like looking, if you want to nd something. You certainly usually nd something, if you look, but it is not always quite the something you were after.” – J.R.R. Tolkien University College and Winthrop University proudly present Undergraduate Scholarship and Creative Activity 2017. This sixth annual University-wide compilation of undergraduate work chronicles the accomplishments of students and faculty mentors from 29 academic departments and programs, spanning all ve colleges of the university: College of Arts and Sciences (CAS), College of Business Administration (CBA), College of Education (COE), College of Visual and Performing Arts (CVPA) and University College (UC). We think you will be impressed by the depth and diversity of the scholarly and creative research highlighted within these pages. As you will see, these student projects grew from a variety of origins, including curricular requirements and extra-curricular programs, and were supported by a range of intra- and extramural funding sources. Students also shared their projects in a remarkable array of venues: publishing papers in refereed journals; presenting and performing scholarship at regional, national, and international conferences; and showing work in juried exhibitions. We congratulate all our student scholars on their creation of new knowledge and new forms of creative expression, as well as their development of professional skills and attributes that have prepared them to pursue nationally competitive awards, graduate and professional degrees, and employment in their chosen elds.