104-12 March 26, 2012 MAYOR BLOOMBERG OPENS FIVE NEW
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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. -
The American Postdramatic Television Series: the Art of Poetry and the Composition of Chaos (How to Understand the Script of the Best American Television Series)”
RLCS, Revista Latina de Comunicación Social, 72 – Pages 500 to 520 Funded Research | DOI: 10.4185/RLCS, 72-2017-1176| ISSN 1138-5820 | Year 2017 How to cite this article in bibliographies / References MA Orosa, M López-Golán , C Márquez-Domínguez, YT Ramos-Gil (2017): “The American postdramatic television series: the art of poetry and the composition of chaos (How to understand the script of the best American television series)”. Revista Latina de Comunicación Social, 72, pp. 500 to 520. http://www.revistalatinacs.org/072paper/1176/26en.html DOI: 10.4185/RLCS-2017-1176 The American postdramatic television series: the art of poetry and the composition of chaos How to understand the script of the best American television series Miguel Ángel Orosa [CV] [ ORCID] [ GS] Professor at the School of Social Communication. Pontificia Universidad Católica del Ecuador (Sede Ibarra, Ecuador) – [email protected] Mónica López Golán [CV] [ ORCID] [ GS] Professor at the School of Social Communication. Pontificia Universidad Católica del Ecuador (Sede Ibarra, Ecuador) – moLó[email protected] Carmelo Márquez-Domínguez [CV] [ ORCID] [ GS] Professor at the School of Social Communication. Pontificia Universidad Católica del Ecuador Sede Ibarra, Ecuador) – camarquez @pucesi.edu.ec Yalitza Therly Ramos Gil [CV] [ ORCID] [ GS] Professor at the School of Social Communication. Pontificia Universidad Católica del Ecuador (Sede Ibarra, Ecuador) – [email protected] Abstract Introduction: The magnitude of the (post)dramatic changes that have been taking place in American audiovisual fiction only happen every several hundred years. The goal of this research work is to highlight the features of the change occurring within the organisational (post)dramatic realm of American serial television. -
—Sex and the City“ Self-Guided Tour
“Sex and the City” Self-Guided Tour During its six seasons on television the ladies of Sex and the City made their way around Manhattan, making some previously unknown locations a must-see on every visitors list. Use this guide to visit some of the most memorable real-life filming locations of Sex and the City and visit www.TheNewYorkCityTraveler.com for more information on New York City. West Village/Meatpacking District 11 Sushi Samba 245 Park Ave South This sushi restaurant is where Samantha 1 Carrie’s Stoop 66 Perry St. confronts a cheating Richard Wright and Sex and the City used a few locations to film coins the term “Dirty martini. Dirty the exterior shots of Carrie’s apartment. bastard.” Here is the most recognizable, Carrie’s 12 Pleasure Chest 156 Seventh Ave. stoop. The girls stop by this sex shop and pick up 2 Magnolia Bakery 401 Bleecker St. the now-famous “The Rabbit” vibrator. Made famous by Sex and the City, stop by 13 Church of the Transfiguration 1 E. 29th St. for a cupcake. Also known as “The Little Church Around 3 Furniture Company 818 Greenwich St. the Corner,” this is where Samantha Furniture Company was cast as Aidan’s attempts to bed Friar Fuck. furniture shop, and where Carrie met Aidan. 14 Vera Wang Bridal House 225 W. 39th St. 4 Samantha’s Loft 300 Ganesvoort St. Where Charlotte picked up her wedding Samantha, always ahead of her time, moved dress when she was marrying Trey. to a loft in the Meatpacking District. The 15 Manolo Blahnik 31 W. -
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. -
Engaging Adolescents in Treatment
Engaging Adolescents in Treatment “Assisting adolescents to reflect on their current situation and experiences and helping them to envision a positive future may promote motivation to change, especially among those who have ‘been there, done that’ and are willing to look ahead.” Janet C. Titus, Susan H. Godley, and Michelle K. White A Post-Treatment Examination of Adolescents’ Reasons for Starting, Quitting, and Continuing the Use of Drugs and Alcohol To successfully identify and treat adolescents with traumatic stress and substance abuse, clinicians must continually explore better ways to encourage their participation in treatment. This is particularly important in mental health and substance abuse service systems, where these teens present a unique set of challenges. Adolescents with both traumatic stress and substance abuse often have complex histories and numerous additional problems that make them particularly difficult to treat. Although empirically-based treatment interventions offer adolescents a good chance of success in overcoming a variety of psychological problems, many youth fail to obtain treatment, and those who enter treatment often terminate prematurely. Clinicians who work with adolescents encounter a series of challenges when trying to engage youth who have histories of traumatic stress and substance abuse. Most adolescents do not enter treatment voluntarily and are often apprehensive about the process. Furthermore, substance abusing adolescents, much like their adult counterparts, often have a hard time making positive changes in their use patterns. To provide effective services, these challenges and barriers must be addressed. Identifying and Encouraging Youth to Seek Help Teens tend not to seek out professional help for a variety of reasons. -
Opiate Use Disorder-Science and Treatment
Opiate Use Disorder Science and Treatment Bradley H. Levin, MD, FACC, FACS, FASAM, DABAM, CMRO Medical Director OATP VA Medical Center Baltimore, Maryland Medical Director Chesapeake Treatment Centers Disclosure • I have no financial relationship or affiliation with any commercial interest • I have no unapproved or investigational use of any product or device Opiate Use Disorder-Science and Treatment Learning Objectives 1. Neurobiology of Addiction 2. Addiction, a Choice or Genetics? 3. Medication Assisted Treatment- what types of treatments are available 4. What are some of the challenges to treatment 5. Goals of Therapy Definitions Addiction: A Chronic Relapsing Disorder “Addiction is a primary, chronic disease of brain reward, motivation, memory and related circuitry.” - ASAM Definitions: Opiates Nushtar or "nishtar" (from Persian, meaning a lancet) • Morphine • Codeine • Opium Opiates – substances naturally present in the opium poppy plant (Papaver Somniferum) • Thebaine Definitions: Opioids • Opioids are not found occurring in nature. • Two “types” of opioids Synthetic Semisynthetic Synthetic Opiates • Manufactured in chemical laboratories with a similar chemical structure to the milk of the poppy plant and are completely man-made to work like opiates • Fentanyl • Methadone • Dilaudid • Norco • Lortab • “Game of Thrones” • Milk of the poppy plant is also commonly used throughout the Seven Kingdoms in the Game of Thrones for those who have suffered severe injuries. 7 Semi-synthetic opiates • Combinations of natural opiates and synthetics -
An Lkd Films Production Presents
AN LKD FILMS PRODUCTION PRESENTS: RUNNING TIME.......................... 96 MIN GENRE ........................................ CRIME/DRAMA RATING .......................................NOT YET RATED YEAR............................................ 2015 LANGUAGE................................. ENGLISH COUNTRY OF ORIGIN ................ UNITED STATES FORMAT ..................................... 1920x1080, 23.97fps, 16:9, SounD 5.1 LINKS .......................................... Website: www.delinquentthemovie.com Facebook: https://www.facebook.com/Delinquentthefilm/ IMDB: http://www.imDb.com/title/tt4225478/ Instagram: @delinquentmovie Hashtag: #delinquentmovie, #delinquentfilm SYNOPSIS The principal is itching to kick Joey out of high school, anD Joey can’t wait to get out. All he wants is to work for his father, a tree cutter by day anD the leader of a gang of small-time thieves by night in rural Connecticut. So when Joey’s father asks him to fill in as a lookout, Joey is thrilleD until a routine robbery goes very wrong. Caught between loyalties to family anD a chilDhood frienD in mourning. Joey has to deal with paranoiD accomplices, a criminal investigation, anD his own guilt. What kinD of man does Joey want to be, anD what does he owe to the people he loves? DIRECTOR’S STATEMENT My home state of Connecticut is depicteD in Television anD Film as the lanD of the wealthy anD privileged: country clubs, yachts, anD salmon coloreD polo shirts galore. Although many of these elements do exist, there is another siDe of Connecticut that is not often seen. It features blue-collar workers, troubleD youth, anD families living on the fringes. I was raiseD in WooDbury, a small town in LitchfielD Country that restricteD commercial businesses from operating within its borders. WooDbury haD a large disparity in its resiDent’s householD income anD over one hundreD antique shops that lineD the town’s “Main St.” I grew up in the rural part of town where my house shareD a property with my father’s plant business. -
National Arts Policy Roundtable 2014 Report
2014 REPORT AND RECOMMENDATIONS At the Edge of the Future: The Arts and Technology in the 21st Century September 18-20, 2014 The Redford Center at the Sundance Resort and Preserve, Utah 1 Table of Contents A Message from the Co-Conveners .............................................................................................................. 3 Background ........................................................................................................................................................ 4 Overview ............................................................................................................................................................ 5 Summary of Outcomes and Recommendations ........................................................................................... 7 Roundtable Panels and Presentations ........................................................................................................... 8 Panel: Technology as a Medium ............................................................................................................... 8 Panel: Art and Technology as a Strategic Approach to Community Building and Education ...... 12 Case Study: Save Studio A—How the Fate of One Historic Studio Galvanized an Entire Global Community ................................................................................................................................................... 17 Panel: The Dynamics of Creative Culture in the Digital Age ............................................................ -
Accepted Manuscript Version
Research Archive Citation for published version: Kim Akass, and Janet McCabe, ‘HBO and the Aristocracy of Contemporary TV Culture: affiliations and legitimatising television culture, post-2007’, Mise au Point, Vol. 10, 2018. DOI: Link to published article in journal's website Document Version: This is the Accepted Manuscript version. The version in the University of Hertfordshire Research Archive may differ from the final published version. Copyright and Reuse: This manuscript version is made available under the terms of the Creative Commons Attribution-NonCommercial- NoDerivatives License CC BY NC-ND 4.0 ( http://creativecommons.org/licenses/by-nc-nd/4.0/ ), which permits non-commercial re-use, distribution, and reproduction in any medium, provided the original work is properly cited, and is not altered, transformed, or built upon in any way. Enquiries If you believe this document infringes copyright, please contact Research & Scholarly Communications at [email protected] 1 HBO and the Aristocracy of TV Culture : affiliations and legitimatising television culture, post-2007 Kim Akass and Janet McCabe In its institutional pledge, as Jeff Bewkes, former-CEO of HBO put it, to ‘produce bold, really distinctive television’ (quoted in LaBarre 90), the premiere US, pay- TV cable company HBO has done more than most to define what ‘original programming’ might mean and look like in the contemporary TV age of international television flow, global media trends and filiations. In this article we will explore how HBO came to legitimatise a contemporary television culture through producing distinct divisions ad infinitum, framed as being rooted outside mainstream commercial television production. In creating incessant divisions in genre, authorship and aesthetics, HBO incorporates artistic norms and principles of evaluation and puts them into circulation as a succession of oppositions— oppositions that we will explore throughout this paper. -
Parkside Psychiatric Hospital & Clinic Community Benefits Report – 2013
Parkside Psychiatric Hospital & Clinic Community Benefits Report – 2013 Parkside Psychiatric Hospital & Clinic www.parksideinc.org 1/24/2014 Parkside’s mission: to provide outstanding mental health and support services. Parkside Psychiatric Hospital & Clinic ABOUT US Parkside is a private, not-for-profit psychiatric hospital and clinic founded with a focus on pro- viding community-based psychiatric services to the mentally ill who reside in Oklahoma. Park- side employees are a caring, dedicated team of experienced health care professionals focused on Parkside's mission. Now, after more than a half century of service to the community, the organization provides hospitalization, residential care, and outpatient services to children, teens and adults. Parkside Assessment & Referral department is staffed 24 hours a day, every day and ready to assist with referrals, questions about benefits and more. Call 918-588-8888, anytime, day or night. Mission To provide outstanding mental health and support services. Vision Parkside will be the psychiatric care provider of choice for patients and professionals. Values > Integrity > Innovation > Passion > Customer Service > Teamwork > Respect and Dignity > Resilience > Leadership > Excellence > Patient Centered > Community Service From the Chief Executive Officer For over 50 years, Parkside has been by your side, providing health and hope to families from all over eastern Oklahoma. Our greatest impact is on those in the Tulsa area, the same community we live in. To underscore our commitment to the community, we have prepared this overview of our activities, services and special initiatives that benefit our community and we thank you for taking the time to review our work. The vision of Parkside Psychiatric Hospital & Clinic is clear and simple; Parkside will be the psychiatric care provider of choice for patients and professionals. -
Banks Act to Rework Mortgages
CNYB 06-09-08 A 1 6/6/2008 8:31 PM Page 1 TOP STORIES BUSINESS LIVES iPhone addicts Power-hungry are consumers thwart hooked conservation effort forever PAGE 2 ® PAGE 35 Book publishing shake-ups signal industry shift VOL. XXIV, NO. 23 WWW.CRAINSNEWYORK.COM JUNE 9-15, 2008 PRICE: $3.00 PAGE 3 Longing for Mike LOVIN’ SPOONFULS shouldn’t mean Banks act ending term limits Yogurt shops EDITORIAL, PAGE 10 to rework Malpractice reform effort will end sweet on city with a whimper But growing competition mortgages THE INSIDER, PAGE 12 could freeze some of them out Lenders step up SMALL BY ADRIANNE PASQUARELLI efforts to help BUSINESS homeowners; 6 owners plot lately, New Yorkers can’t walk a few blocks without run- ning into a frozen yogurt shop.The count has gone from the will it be enough? hard-earned low single digits to more than 30 storefronts in the past 20 summer escapes months alone. And with summer’s steamy heat on the way, BY DANIEL MASSEY PAGE 21 the craze won’t wane any time soon. Where there were photo labs and thrift stores, there are with the number of New York now Yolatos and Berrywilds. Industry giants Pinkberry and City mortgages in foreclosure at its Red Mango, chains that kicked off expansion in California, highest level in at least 15 years, have opened multiple New York locations and have plenty lenders are intensifying their ef- See YOGURT on Page 8 forts to help borrowers hold on to their homes. Mortgage servicers completed 1,560 loan workouts in New York lindström bekka during the first two months of the year,up from 1,027 in the first three warnings of foreclosure, and no- months of 2007,says Hope Now,an body was doing anything except alliance of mortgage companies and demanding your money,”says state investors. -
SOUND STAGE PRODUCTION REPORT “This Report Reveals a Portion of the Los Angeles Production Picture That Has Until Now Gone Unviewed
SOUND STAGE PRODUCTION REPORT “This report reveals a portion of the Los Angeles production picture that has until now gone unviewed. We hope that the availability of this data, and our plans to expand it through new studio partnerships, will be an asset to business leaders and policymakers, and further public understanding of L.A.’s signature industry and the wide employment and economic benefits it brings.” - Paul Audley, President of FilmL.A. PHOTO: Dmitry Morgan / Shutterstock.com PHOTO: MBS Media Campus PHOTO: Sunset Gower Studios© 6255 W. Sunset Blvd. CREDITS: 12th Floor Supervising Research Analyst: Hollywood, CA 90028 Adrian McDonald Graphic Design: filmla.com Shane Hirschman Photography: @FilmLA Shutterstock FilmLA Stages / studios (as noted) FilmLAinc TABLE OF CONTENTS INTRODUCTION 2 CERTIFIED SOUND STAGES IN GREATER LOS ANGELES 3 OTHER NON-CERTIFIED PRODUCTION SPACES 3 SHOOT DAYS ON STUDIO SOUND STAGES AND BACKLOTS 4 TRENDS IN SOUND STAGE FILMING 5 TRENDS IN BACKLOT FILMING 7 TRENDS IN SOUND STAGE OCCUPANCY 8 PROJECT COUNTS BY PRODUCTION CATEGORY 8 SOUND STAGES AND STUDIO INFRASTRUCTURE IN NORTH AMERICA 9 CONCLUSION 12 INTRODUCTION For more than 20 years, FilmL.A. has conducted an ongoing study of on-location filming in the Greater Los Angeles area. Drawing on data from film permits it coordinates, FilmL.A. publishes detailed quarterly updates on local film production, covering categories like Feature Films, Television Dramas and Commercials, among others. The availability of this data helps inform the film industry, Los Angeles area residents and state and local public officials of the overall health of California’s signature industry. Few other film offices track local film production as thoroughly as FilmL.A does.