2980 11Tnm01.Pdf
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Feminism, Postfeminism, Liz Lemonism: Comedy and Gender Politics on 30 Rock
Genders 1998-2013 Genders 1998-2013 Genders 1998-2013 Home (/gendersarchive1998-2013/) Feminism, Postfeminism, Liz Lemonism: Comedy and Gender Politics on 30 Rock Feminism, Postfeminism, Liz Lemonism: Comedy and Gender Politics on 30 Rock May 1, 2012 • By Linda Mizejewski (/gendersarchive1998-2013/linda-mizejewski) [1] The title of Tina Fey's humorous 2011 memoir, Bossypants, suggests how closely Fey is identified with her Emmy-award winning NBC sitcom 30 Rock (2006-), where she is the "boss"—the show's creator, star, head writer, and executive producer. Fey's reputation as a feminist—indeed, as Hollywood's Token Feminist, as some journalists have wryly pointed out—heavily inflects the character she plays, the "bossy" Liz Lemon, whose idealistic feminism is a mainstay of her characterization and of the show's comedy. Fey's comedy has always focused on gender, beginning with her work on Saturday Night Live (SNL) where she became that show's first female head writer in 1999. A year later she moved from behind the scenes to appear in the "Weekend Update" sketches, attracting national attention as a gifted comic with a penchant for zeroing in on women's issues. Fey's connection to feminist politics escalated when she returned to SNL for guest appearances during the presidential campaign of 2008, first in a sketch protesting the sexist media treatment of Hillary Clinton, and more forcefully, in her stunning imitations of vice-presidential candidate Sarah Palin, which launched Fey into national politics and prominence. [2] On 30 Rock, Liz Lemon is the head writer of an NBC comedy much likeSNL, and she is identified as a "third wave feminist" on the pilot episode. -
An Analysis of Hegemonic Social Structures in "Friends"
"I'LL BE THERE FOR YOU" IF YOU ARE JUST LIKE ME: AN ANALYSIS OF HEGEMONIC SOCIAL STRUCTURES IN "FRIENDS" Lisa Marie Marshall A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2007 Committee: Katherine A. Bradshaw, Advisor Audrey E. Ellenwood Graduate Faculty Representative James C. Foust Lynda Dee Dixon © 2007 Lisa Marshall All Rights Reserved iii ABSTRACT Katherine A. Bradshaw, Advisor The purpose of this dissertation is to analyze the dominant ideologies and hegemonic social constructs the television series Friends communicates in regard to friendship practices, gender roles, racial representations, and social class in order to suggest relationships between the series and social patterns in the broader culture. This dissertation describes the importance of studying television content and its relationship to media culture and social influence. The analysis included a quantitative content analysis of friendship maintenance, and a qualitative textual analysis of alternative families, gender, race, and class representations. The analysis found the characters displayed actions of selectivity, only accepting a small group of friends in their social circle based on friendship, gender, race, and social class distinctions as the six characters formed a culture that no one else was allowed to enter. iv ACKNOWLEDGMENTS This project stems from countless years of watching and appreciating television. When I was in college, a good friend told me about a series that featured six young people who discussed their lives over countless cups of coffee. Even though the series was in its seventh year at the time, I did not start to watch the show until that season. -
Executive Producer)
PRODUCTION BIOGRAPHIES STEVEN SODERBERGH (Executive Producer) Steven Soderbergh has produced or executive-produced a wide range of projects, most recently Gregory Jacobs' Magic Mike XXL, as well as his own series "The Knick" on Cinemax, and the current Amazon Studios series "Red Oaks." Previously, he produced or executive-produced Jacobs' films Wind Chill and Criminal; Laura Poitras' Citizenfour; Marina Zenovich's Roman Polanski: Odd Man Out, Roman Polanski: Wanted and Desired, and Who Is Bernard Tapie?; Lynne Ramsay's We Need to Talk About Kevin; the HBO documentary His Way, directed by Douglas McGrath; Lodge Kerrigan's Rebecca H. (Return to the Dogs) and Keane; Brian Koppelman and David Levien's Solitary Man; Todd Haynes' I'm Not There and Far From Heaven; Tony Gilroy's Michael Clayton; George Clooney's Good Night and Good Luck and Confessions of a Dangerous Mind; Scott Z. Burns' Pu-239; Richard Linklater's A Scanner Darkly; Rob Reiner's Rumor Has It...; Stephen Gaghan'sSyriana; John Maybury's The Jacket; Christopher Nolan's Insomnia; Godfrey Reggio's Naqoyqatsi; Anthony and Joseph Russo's Welcome to Collinwood; Gary Ross' Pleasantville; and Greg Mottola's The Daytrippers. LODGE KERRIGAN (Co-Creator, Executive Producer, Writer, Director) Co-Creators and Executive Producers Lodge Kerrigan and Amy Seimetz wrote and directed all 13 episodes of “The Girlfriend Experience.” Prior to “The Girlfriend Experience,” Kerrigan wrote and directed the features Rebecca H. (Return to the Dogs), Keane, Claire Dolan and Clean, Shaven. His directorial credits also include episodes of “The Killing” (AMC / Netflix), “The Americans” (FX), “Bates Motel” (A&E) and “Homeland” (Showtime). -
30 Rock: Complexity, Metareferentiality and the Contemporary Quality Sitcom
30 Rock: Complexity, Metareferentiality and the Contemporary Quality Sitcom Katrin Horn When the sitcom 30 Rock first aired in 2006 on NBC, the odds were against a renewal for a second season. Not only was it pitched against another new show with the same “behind the scenes”-idea, namely the drama series Studio 60 on the Sunset Strip. 30 Rock’s often absurd storylines, obscure references, quick- witted dialogues, and fast-paced punch lines furthermore did not make for easy consumption, and thus the show failed to attract a sizeable amount of viewers. While Studio 60 on the Sunset Strip did not become an instant success either, it still did comparatively well in the Nielson ratings and had the additional advantage of being a drama series produced by a household name, Aaron Sorkin1 of The West Wing (NBC, 1999-2006) fame, at a time when high-quality prime-time drama shows were dominating fan and critical debates about TV. Still, in a rather surprising programming decision NBC cancelled the drama series, renewed the comedy instead and later incorporated 30 Rock into its Thursday night line-up2 called “Comedy Night Done Right.”3 Here the show has been aired between other single-camera-comedy shows which, like 30 Rock, 1 | Aaron Sorkin has aEntwurf short cameo in “Plan B” (S5E18), in which he meets Liz Lemon as they both apply for the same writing job: Liz: Do I know you? Aaron: You know my work. Walk with me. I’m Aaron Sorkin. The West Wing, A Few Good Men, The Social Network. -
Junior Mints and Their Bigger Than Bite-Size Role in Complicating Product Placement Assumptions
Salve Regina University Digital Commons @ Salve Regina Pell Scholars and Senior Theses Salve's Dissertations and Theses 5-2010 Junior Mints and Their Bigger Than Bite-Size Role in Complicating Product Placement Assumptions Stephanie Savage Salve Regina University, [email protected] Follow this and additional works at: https://digitalcommons.salve.edu/pell_theses Part of the Advertising and Promotion Management Commons, and the Marketing Commons Savage, Stephanie, "Junior Mints and Their Bigger Than Bite-Size Role in Complicating Product Placement Assumptions" (2010). Pell Scholars and Senior Theses. 54. https://digitalcommons.salve.edu/pell_theses/54 This Article is brought to you for free and open access by the Salve's Dissertations and Theses at Digital Commons @ Salve Regina. It has been accepted for inclusion in Pell Scholars and Senior Theses by an authorized administrator of Digital Commons @ Salve Regina. For more information, please contact [email protected]. Savage 1 “Who’s gonna turn down a Junior Mint? It’s chocolate, it’s peppermint ─it’s delicious!” While this may sound like your typical television commercial, you can thank Jerry Seinfeld and his butter fingers for what is actually one of the most renowned lines in television history. As part of a 1993 episode of Seinfeld , subsequently known as “The Junior Mint,” these infamous words have certainly gained a bit more attention than the show’s writers had originally bargained for. In fact, those of you who were annoyed by last year’s focus on a McDonald’s McFlurry on NBC’s 30 Rock may want to take up your beef with Seinfeld’s producers for supposedly showing marketers the way to the future ("Brand Practice: Product Integration Is as Old as Hollywood Itself"). -
Summer 2019 Calendar of Events
summer 2019 Calendar of events Hans Christian Andersen Music and lyrics by Frank Loesser Book and additional lyrics by Timothy Allen McDonald Directed by Rives Collins In this issue July 13–28 Ethel M. Barber Theater 2 The next big things Machinal by Sophie Treadwell 14 Student comedians keep ’em laughing Directed by Joanie Schultz 20 Comedy in the curriculum October 25–November 10 Josephine Louis Theater 24 Our community 28 Faculty focus Fun Home Book and lyrics by Lisa Kron 32 Alumni achievements Music by Jeanine Tesori Directed by Roger Ellis 36 In memory November 8–24 37 Communicating gratitude Ethel M. Barber Theater Julius Caesar by William Shakespeare Directed by Danielle Roos January 31–February 9 Josephine Louis Theater Information and tickets at communication.northwestern.edu/wirtz The Waa-Mu Show is vying for global design domination. The set design for the 88th annual production, For the Record, called for a massive 11-foot-diameter rotating globe suspended above the stage and wrapped in the masthead of the show’s fictional newspaper, the Chicago Offering. Northwestern’s set, scenery, and paint shops are located in the Virginia Wadsworth Wirtz Center for the Performing Arts, but Waa-Mu is performed in Cahn Auditorium. How to pull off such a planetary transplant? By deflating Earth. The globe began as a plain white (albeit custom-built) inflatable balloon, but after its initial multisection muslin wrap was created (to determine shrinkage), it was deflated, rigged, reinflated, motorized, map-designed, taped for a paint mask, primed, painted, and unpeeled to reveal computer-generated, to-scale continents. -
ABSTRACT Stereotypes of Asians and Asian Americans in the U.S. Media
ABSTRACT Stereotypes of Asians and Asian Americans in the U.S. Media: Appearance, Disappearance, and Assimilation Yueqin Yang, M.A. Mentor: Douglas R. Ferdon, Jr., Ph.D. This thesis commits to highlighting major stereotypes concerning Asians and Asian Americans found in the U.S. media, the “Yellow Peril,” the perpetual foreigner, the model minority, and problematic representations of gender and sexuality. In the U.S. media, Asians and Asian Americans are greatly underrepresented. Acting roles that are granted to them in television series, films, and shows usually consist of stereotyped characters. It is unacceptable to socialize such stereotypes, for the media play a significant role of education and social networking which help people understand themselves and their relation with others. Within the limited pages of the thesis, I devote to exploring such labels as the “Yellow Peril,” perpetual foreigner, the model minority, the emasculated Asian male and the hyper-sexualized Asian female in the U.S. media. In doing so I hope to promote awareness of such typecasts by white dominant culture and society to ethnic minorities in the U.S. Stereotypes of Asians and Asian Americans in the U.S. Media: Appearance, Disappearance, and Assimilation by Yueqin Yang, B.A. A Thesis Approved by the Department of American Studies ___________________________________ Douglas R. Ferdon, Jr., Ph.D., Chairperson Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Arts Approved by the Thesis Committee ___________________________________ Douglas R. Ferdon, Jr., Ph.D., Chairperson ___________________________________ James M. SoRelle, Ph.D. ___________________________________ Xin Wang, Ph.D. -
Power of Attorney
Louisiana State University Law Center LSU Law Digital Commons Journal Articles Faculty Scholarship 2008 Power of Attorney Christine Corcos Louisiana State University Law Center, [email protected] Follow this and additional works at: https://digitalcommons.law.lsu.edu/faculty_scholarship Part of the Law Commons Repository Citation Corcos, Christine, "Power of Attorney" (2008). Journal Articles. 220. https://digitalcommons.law.lsu.edu/faculty_scholarship/220 This Article is brought to you for free and open access by the Faculty Scholarship at LSU Law Digital Commons. It has been accepted for inclusion in Journal Articles by an authorized administrator of LSU Law Digital Commons. For more information, please contact [email protected]. POWER OF ATTORNEY Christine A. Corcos * I. Opening Statements No doubt exists that the drama/farce 1 Ally McBeal , which ran on the Fox Television Network from 1997 to 2002 2, was a phenomenal success, at least during its middle years (1998-1999). 3 It sparked numerous fan websites in several countries 4 including one devoted to “fan fiction @5” (a genre in which devotees of a television series or film try their hands at writing scripts), various product spinoffs, 6 a series spinoff (Ally , a thirty minute version that * Associate Professor of Law, Louisiana State University Law Center. I wish to thank Darlene C. Goring, Associate Professor of Law, Louisiana State University Law Center, for her thoughtful reading of the manuscript and her cogent and helpful comments on its content and N. Greg Smith, Professor of Law, Louisiana State University Law Center, for helpful comments and discussion of ethical rules. -
A Report on the Litigation Lobby
CENTER FOR LEGAL POLICY AT THE MANHATTAN INSTITUTE C L P STREET NW A REPORT ON THE LITIGATION LOBBY 2010 A Message from the Director merica’s litigation-friendly legal system continues to im- law is, for the most part, crafted by state judges rather than en- A pose a heavy burden on our economy. The annual direct acted by state legislatures, these efforts have centered on ensuring cost of American tort litigation—excluding much securities liti- a friendly judiciary, whether appointed or elected. gation, punitive damages, and the multibillion-dollar settlement With business groups now fighting back against Trial Lawyers, reached between the tobacco companies and the states in 1998— Inc.’s longtime grip on state judiciaries, the litigation lobby has exceeds $250 billion, almost 2 percent of gross domestic prod- turned its attention to state legislatures, where it is not only block- uct.1 The indirect costs of excessive litigiousness (for example, the ing tort reforms but working to expand its portfolio of litigation unnecessary tests and procedures characterizing the practice of opportunities. Among other things, state legislators are authoriz- “defensive” medicine, or the loss of the fruits of research never ing new kinds of lawsuits, raising damage caps, and giving private undertaken on account of the risk of abusive lawsuits) are prob- lawyers authority to sue on behalf of the state. ably much greater than the direct costs themselves.2 Of course, the growth in federal regulation and law has made Of course, tort litigation does do some good, and it does deter it necessary for Trial Lawyers, Inc. -
Introduction 1 Theorizing Women's Singleness: Postfeminism
Notes Introduction 1. See Ringrose and Walkerdine’s work on how the boundaries of femininity are policed, constituting some subject positions – those against which normative femininity comes to be defined – ‘uninhabitable’ (2008, p. 234). 1 Theorizing Women’s Singleness: Postfeminism, Neoliberalism, and the Politics of Popular Culture 1. Lewis and Moon (1997) have observed that women’s singleness is at once glamorized and stigmatized, however I suggest, and explore how, this is a particular feature of postfeminist media culture. 2. As Jill Reynolds argues, ‘the cultural context today incorporates new repre- sentations of singleness while continuing to draw on older, more devalued notions that being single is a problem for women: generally to be resolved through commitment to a heterosexual relationship’ (2008, p. 2). 3. In early feminist studies of how women were represented in the media, the ‘images of women’ style criticism dominated, arguing that women were mis- represented in and through the mainstream media and that such ‘negative’ rep- resentations had deleterious effects on the women who consumed them. This is a position that has been thoroughly critiqued and replaced by more nuanced approaches to both signification and consumption. See Walters’ chapter ‘From Images of Women to Woman as Image’ for a rehearsal of these debates (1995). 4. For example, in her critical text Postfeminisms, Ann Brooks (1997) conceptual- izes it in terms of the intersections of feminism, poststructuralism, postmod- ernism, and postcolonialism. Others have theorized it primarily as a popular manifestation which effectively represents an updated form of antifeminism (Faludi, 1991; Walters, 1995; Kim, 2001). 5. The idea that postfeminism is itself constituted by contradiction, ‘the product of competing discourses and interests’ (Genz & Brabon, 2009, p. -
Views on Happiness in the Television Series Ally Mcbeal: the Philosophy of David E
QUT Digital Repository: http://eprints.qut.edu.au/ McKee, Alan (2004) Views On Happiness In The Television Series Ally Mcbeal: The Philosophy Of David E. Kelley. Journal of Happiness Studies 5(4):pp. 385- 411. © Copyright 2004 Springer The original publication is available at SpringerLink http://www.springerlink.com 1 Views on happiness in the television series Ally McBeal: the philosophy of David E Kelley Alan McKee Film and Television Queensland University of Technology Kelvin Grove QLD 4059 Australia [email protected] 2 Abstract This article contributes to our understanding of popular thinking about happiness by exploring the work of David E Kelley, the creator of the television program Ally McBeal and an important philosopher of happiness. Kelley's major points are as follows. He is more ambivalent than is generally the case in popular philosophy about many of the traditional sources of happiness. In regard to the maxim that money can't buy happiness he gives space to characters who assert that there is a relationship between material comfort and happiness, as well as to those that claim the opposite position. He is similarly ambivalent about the relationship between loving relationships and happiness; and friendships and happiness. In relation to these points Kelley is surprisingly principled in citing the sources that he draws upon in his thinking (through intertextual references to genres and texts that have explored these points before him). His most original and interesting contributions to popular discussions of the nature of happiness are twofold. The first is his suggestion that there is a lot to be said for false consciousness. -
Boston Massachusetts in Fiction Cheers Ally Mcbeal Good Will Hunting the Verdict the Handmaids Tale Spenser Fringe
BOSTON MASSACHUSETTS IN FICTION CHEERS ALLY MCBEAL GOOD WILL HUNTING THE VERDICT THE HANDMAIDS TALE SPENSER FRINGE PDF-29BMIFCAMGWHTVTHTSF0 | Page: 117 File Size 5,182 KB | 24 Jun, 2020 TABLE OF CONTENT Introduction Brief Description Main Topic Technical Note Appendix Glossary PDF File: Boston Massachusetts In Fiction Cheers Ally Mcbeal Good Will Hunting The Verdict The 1/2 Handmaids Tale Spenser Fringe - PDF-29BMIFCAMGWHTVTHTSF0 Boston Massachusetts In Fiction Cheers Ally Mcbeal Good Will Hunting The Verdict The Handmaids Tale Spenser Fringe e-Book Name : Boston Massachusetts In Fiction Cheers Ally Mcbeal Good Will Hunting The Verdict The Handmaids Tale Spenser Fringe - Read Boston Massachusetts In Fiction Cheers Ally Mcbeal Good Will Hunting The Verdict The Handmaids Tale Spenser Fringe PDF on your Android, iPhone, iPad or PC directly, the following PDF file is submitted in 24 Jun, 2020, Ebook ID PDF-29BMIFCAMGWHTVTHTSF0. Download full version PDF for Boston Massachusetts In Fiction Cheers Ally Mcbeal Good Will Hunting The Verdict The Handmaids Tale Spenser Fringe using the link below: Download: BOSTON MASSACHUSETTS IN FICTION CHEERS ALLY MCBEAL GOOD WILL HUNTING THE VERDICT THE HANDMAIDS TALE SPENSER FRINGE PDF The writers of Boston Massachusetts In Fiction Cheers Ally Mcbeal Good Will Hunting The Verdict The Handmaids Tale Spenser Fringe have made all reasonable attempts to offer latest and precise information and facts for the readers of this publication. The creators will not be held accountable for any unintentional flaws or omissions that may be found. PDF File: Boston Massachusetts In Fiction Cheers Ally Mcbeal Good Will Hunting The Verdict The 2/2 Handmaids Tale Spenser Fringe - PDF-29BMIFCAMGWHTVTHTSF0.