Continúa La Investigación
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
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................................................................................. -
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. -
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 -
ORANGE 1001 9-20-12 YELLOW PAGES Copy.Fdx
ORANGE IS THE NEW BLACK PILOT Ep. #1001 Written by Jenji Kohan Directed by Michael Trim Based on the Memoir by Piper Kerman Production Draft - 09/07/12 Blue (full) - 09/12/12 Pink (pages) – 09/14/12 Yellow (pages) – 09/20/12 Green (pages) – 09/24/12 (Pages Affected: Cast, 38, 46) Copyright © 2012 Lions Gate Television Inc. ALL RIGHTS RESERVED. No portion of this script may be performed, published, sold or distributed by any means, or quoted or published in any medium, including any website, without prior written consent. Disposal of this script copy does not alter any of the restrictions set forth above. ORANGE IS THE NEW BLACK CAST EPISODE #1001 GREEN 09/24/12 PIPER CHAPMAN TAYLOR SCHILLING LARRY BLOOM JASON BIGGS MISS CLAUDETTE PELAGE MICHELLE HURST GALINA “RED” REZNIKOV NICKY NICHOLS NATASHA LYONNE ALEX VAUSE LAURA PREPON SAM HEALY MICHAEL HARNEY POLLY HARPER MARIA DIZZIA GEORGE “PORNSTACHE” MENDEZ PABLO SCHREIBER JOSEPH “JOE” CAPUTO NICK SANDOW JOHN BENNETT MATT McGORRY LORNA MORELLO YAEL STONE ERICA “YOGA” JONES CONSTANCE SHULMAN DAYANARA DIAZ DASCHA POLANCO ALEIDA DIAZ ELIZABETH RODRIGUEZ JANAE WATSON VICKY JEUDY CARRIE “BIG BOO” BLACK LEA DELARIA CAROL CHAPMAN DEBORAH RUSH CAL CHAPMAN MICHAEL CHERNUS HOWARD BLOOM TODD SUSMAN TASHA “TAYSTEE” JEFFERSON DANIELLE BROOKS SISTER INGALLS BETH FOWLER SOPHIA BURSET LAVERNE COX PETE HARPER NICK STEVENSON BLANCA FLORES LAURA GOMEZ AMY KANTER-BLOOM KATHRYN KATES CELESTE CHAPMAN MARY LOORAM GINA MURPHY ABIGAIL SAVAGE BILL CHAPMAN BILL HOAG ANITA DeMARCO LIN TUCCI MISS ROSA CISNEROS BARBARA ROSENBLAT WANDA BELL CATHERINE CURTIN GLORIA MENDOZA SELENIS LEVYA ELIQUA MAXWELL LOLITA FOSTER J. -
Paramount Network
revista sobre programación de plataformas 183/julio/2019 de televisión de pago en españa ejemplar gratuito 50 años del hombre en la luna book julio2019 una publicación de www.neeo.es Sony Pictures Television Networks Iberia, S.L. Turner Broadcasting System España The Walt Disney Company Iberia Discovery Networks International Canal Cosmopolitan Iberia AMC Networks International | Iberia NBC Universal Global Networks España Viacom International Media Networks Fox Networks Group España neeo no se responsabiliza de los DTS Distribuidora de Televisión Digital posibles cambios que puedan Netflix España realizar los diversos canales en su TV5Monde programación. HBO España Amazon.com, Inc Ejemplar gratuito. TV5Monde cine y series infantil música amc canal panda sol música axn nick jr. axn white nickedoleon calle 13 comedy central cosmo documentales dark blaze fox cazavisión hbo españa crimen + investigación movistar estrenos discovery channel movistar cinedoc&roll historia movistar series odisea movistar seriesmanía mtv netflix paramount network extra prime video canal cocina rakuten tv decasa starzplay sundancetv tcm deportes tnt eurosport 1 xtrm eurosport 2 book cine series book amc HD amc networks international | iberia 2ª Temporada The Son El próximo sábado 27 de julio a las 22:10h regresa el western ‘The Son’ con su segunda temporada. En esta serie original de AMC protagonizada por Pierce Brosnan, la familia McCullough –uno de los clanes más poderosos y ricos de Texas gracias al negocio del petróleo– tendrá que enfrentarse a nuevos ataques externos, así como fracturas internas provocadas por el retorno de sus integrantes. Esta temporada se centra en Eli Jr. (Jacob Lofland) –hijo de Eli McCullough (Brosnan)– y su camino hasta convertirse en leyenda con las incursiones de su ejército de comanches. -
1 Anne Schwan Postfeminism Meets the Women in Prison Genre
[Forthcoming in Television & New Media, Special Issue on “Screening Women’s Imprisonment: Agency and Exploitation in Orange is the New Black, ed. Sarah Artt and Anne Schwan, 2016] Anne Schwan Postfeminism Meets the Women in Prison Genre: Privilege and Spectatorship in Orange is the New Black This article argues that Netflix’s original series Orange is the New Black (2013-), based on Piper Kerman’s memoir (2010), uses postfeminist strategies to covertly promote prison reform and exercise a subtle critique of (female) mass incarceration while renegotiating the boundaries of the women in prison genre in a neoliberal context of media production.1 Similar to earlier examples of the women in prison genre, OITNB highlights relationships between women, in this instance relationships between a particularly diverse group of women, with a view to interrogating white, middle-class women’s identity through Piper Chapman’s character, who also serves as a foil for the show’s implied viewer, at least initially. OITNB inhabits the tensions associated both with the women in prison genre and postfeminism, tensions manifesting themselves in titillating content and Netflix’s aggressive marketing campaigns, which appropriate women’s prison experiences as a life-style choice rather than focusing on in-depth analyses of the root causes of incarceration. Yet, the series has the potential to mobilize social awareness and activist sensibilities amongst its target audience, in a political and media environment where the individual and social cost of mass incarceration is increasingly recognized as untenable.2 Building on theories of postfeminism and recent work on the women in prison genre in feminist 1 media, film and cultural studies, and by analyzing the show’s self-reflexive strategies and its exploration of Piper’s perspective, I suggest that the series affords useful opportunities for assessing the effectiveness of (post)feminism’s tactics as an ally in the fight against social inequalities, media (mis-)representation and mass imprisonment specifically. -
Orange Is the New Black – Season 2 – Cast List
ORANGE IS THE NEW BLACK – SEASON 2 – CAST LIST SERIES REGULARS PIPER CHAPMAN – TAYLOR SCHILLING LARRY BLOOM – JASON BIGGS GALINA “RED” REZNIKOV – KATE MULGREW SAM HEALY - MICHAEL HARNEY TASHA “TAYSTEE” JEFFERSON - DANIELLE BROOKS PENNSATUCKY – TARYN MANNING CRAZY EYES - UZO ADUBA NICKY NICHOLS – NATASHA LYONNE RECURRING CAST ALEX VAUSE – LAURA PREPON (Episodes 1, 10, 11, 13) PORNSTACHE – PABLO SCHREIBER (Episodes 8, 9, 10) VEE – LORRAINE TOUSSAINT (Episodes 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13) JOSEPH “JOE” CAPUTO – NICK SANDOW (Episodes 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13) POUSSEY – SAMIRA WILEY (Episodes 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13) GLORIA MENDOZA – SELENIS LEYVA (Episodes 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13) LORNA MORELLO – YAEL STONE (Episodes 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13) DAYANARA DIAZ – DASCHA POLANCO (Episodes 2, 3, 5, 6, 7, 8, 9, 10, 11, 12, 13) FLACA – JACKIE CRUZ (Episodes 2, 3, 4, 5, 6, 7, 8, 9, 10, 12, 13) O’NEILL – JOEL MARSH GARLAND (Episodes 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 13) BIG BOO – LEA DELARIA (Episodes 2, 3, 4, 5, 6, 7, 9, 10, 11, 12, 13) JOHN BENNETT – MATT MCGORRY (Episodes 2, 3, 5, 6, 7, 8, 9, 10, 11, 12, 13) JANAE WATSON – VICKY JEUDY (Episodes 2, 3, 4, 5, 6, 7, 9, 10, 11, 12, 13) FIG –ALYSIA REINER (Episodes 1, 2, 5, 6, 7, 8, 10, 11, 12, 13) NORMA – ANNIE GOLDEN (Episodes 2, 3, 4, 5, 6, 7, 9, 11, 12, 13) SISTER INGALLS – BETH FOWLER (Episodes 2, 3, 4, 6, 7, 8, 9, 10, 11, 13) MARITZA – DIANE GUERRERO (Episodes 2, 3, 4, 5, 6, 7, 9, 10, 12, 13) ALEIDA DIAZ – ELIZABETH RODRIGUES (Episodes 2, 3, 5, 6, 7, 8, 10, 11, 12, 13) MARIA RUIZ – JESSICA PIMENTEL (Episodes 2, 4, 5, 6, 7, 8, 9, 10, 12, 13) SOPHIA BURSET – LAVERNE COX (Episodes 2, 3, 4, 6, 7, 8, 10, 11, 12, 13) BROOK SOSO – KIMIKO GLENN (Episodes 3, 4, 6, 7, 8, 9, 10, 11, 12, 13) LEANNE TAYLOR – EMMA MYLES (Episodes 2, 3, 4, 6, 8, 9, 11, 12, 13) ANGIE RICE – JULIE LAKE (Episodes 2, 3, 4, 6, 7, 8, 11, 12, 13) BLACK CINDY – ADRIENNE C. -
2019 Casting Announcement for the Beauty Queen of Leenane
Monday 19 August 2019 Casting announcement for The Beauty Queen of Leenane The Beauty Queen of Leenane By Martin McDonagh 18 Nov – 21 Dec. Roslyn Packer Theatre. Opening Night: Fri 22 Nov. Yael Stone and Noni Hazlehurst have joined the cast of Sydney Theatre Company's The Beauty Queen of Leenane, which will play at the Roslyn Packer Theatre this November. Yael will play Maureen Folan and Noni will play her mother Mag in the ink-black Martin McDonagh comedy, directed by STC Associate Director Paige Rattray. They join a cast which also includes Shiv Palekar and Toby Schmitz. Paige Rattray said: “Our two central characters, Mag and her daughter Maureen are brilliant roles for women. They are both incredibly flawed beings, playing domestic roles that have been thrust onto them by society and circumstance. Their psychology is complex and you see-saw between feeling anger, sympathy, understanding and outrage at their actions. I can’t wait to see what actors of Yael and Noni’s calibre will bring to these roles. If our photo shoot is anything to go by our audiences are in for a very funny and surprising ride!” In a small town in the Irish hills of Connemara, Maureen Folan lives a lonely existence with Mag, her aged mother. Their relationship is more arm wrestle than warm embrace. Right now, when Maureen stands the chance of having her first romantic relationship, Mag’s cantankerous presence is simply unbearable. This play was the first big hit for McDonagh who went on to pen the Broadway and West End hits The Pillowman and The Lieutenant of Inishmore, as well as acclaimed films such as In Bruges and Three Billboards Outside Ebbing, Missouri.