Revenge: the Secret Origin of Emily Thorne Free
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Bad Girls: Agency, Revenge, and Redemption in Contemporary Drama
e Interdisciplinary Journal of Popular Culture and Pedagogy Bad Girls: Agency, Revenge, and Redemption in Contemporary Drama Courtney Watson, Ph.D. Radford University Roanoke, Virginia, United States [email protected] ABSTRACT Cultural movements including #TimesUp and #MeToo have contributed momentum to the demand for and development of smart, justified female criminal characters in contemporary television drama. These women are representations of shifting power dynamics, and they possess agency as they channel their desires and fury into success, redemption, and revenge. Building on works including Gillian Flynn’s Gone Girl and Netflix’s Orange is the New Black, dramas produced since 2016—including The Handmaid’s Tale, Ozark, and Killing Eve—have featured the rise of women who use rule-breaking, rebellion, and crime to enact positive change. Keywords: #TimesUp, #MeToo, crime, television, drama, power, Margaret Atwood, revenge, Gone Girl, Orange is the New Black, The Handmaid’s Tale, Ozark, Killing Eve Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy 37 Watson From the recent popularity of the anti-heroine in novels and films like Gone Girl to the treatment of complicit women and crime-as-rebellion in Hulu’s adaptation of The Handmaid’s Tale to the cultural watershed moments of the #TimesUp and #MeToo movements, there has been a groundswell of support for women seeking justice both within and outside the law. Behavior that once may have been dismissed as madness or instability—Beyoncé laughing wildly while swinging a baseball bat in her revenge-fantasy music video “Hold Up” in the wake of Jay-Z’s indiscretions comes to mind—can be examined with new understanding. -
Master Thesis Betekenis Van Gender in De TV Serie Revenge
Master Thesis Betekenis van gender in de TV serie Revenge Naam: Nadia Benhaddou Studentnummer: 384488 Begeleider: Jacco van Sterkenburg Tweede lezer: Bernadette Kester Master Media Studies: Media en Cultuur Erasmus School of History, Culture and Communication Erasmus Universiteit Rotterdam Rotterdam, 9 Juli 2015 Voorwoord Toen ik een onderwerp moest bedenken voor mijn Master Thesis, wist ik meteen al dat ik iets met boeken of TV series wilde doen. Ik ben ook meteen afgegaan op de begeleiders die daar iets mee wilden doen. Helaas kon ik niet terecht bij mijn top 3 begeleiders met deze onderwerpen. Maar de grote optimist die ik ben, had ik er het volste vertrouwen in dat ik nog op tijd een begeleider zou krijgen, wat na een gesprek met Erik Hitters ook is gebeurd. Helaas kreeg ik drie dagen voor mijn eerste afspraak met mijn nieuwe begeleider te horen dat het niet meer zou lukken om mij te begeleiden, omdat hij onverwachts niet meer werkzaam was op de universiteit. Na weer een gesprek met Erik Hitters, had ik er nog steeds het volste vertrouwen in dat het goed zou komen. Helaas kwam de kerstvakantie steeds dichterbij en begon ik me toch enigszins zorgen te maken. En net in de week voor de vakantie had Erik Hitters een begeleider voor me gevonden; Jacco van Sterkenburg. Vanaf dat moment ging alles heel snel en moest ik meteen met een plan van aanpak komen. Daar heb ik heel mijn kerstvakantie aan besteed en het ergste dat je als student kan gebeuren overkomt me; mijn usb gaat kapot met daarop mijn gehele plan van aanpak. -
The Pathologising Effect of TV Revengendas
University of Wollongong Research Online Faculty of Law, Humanities and the Arts - Papers Faculty of Arts, Social Sciences & Humanities 1-1-2015 The bitter taste of payback: the pathologising effect of TV revengendas Cassandra E. Sharp University of Wollongong, [email protected] Follow this and additional works at: https://ro.uow.edu.au/lhapapers Part of the Arts and Humanities Commons, and the Law Commons Recommended Citation Sharp, Cassandra E., "The bitter taste of payback: the pathologising effect of TV revengendas" (2015). Faculty of Law, Humanities and the Arts - Papers. 2422. https://ro.uow.edu.au/lhapapers/2422 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] The bitter taste of payback: the pathologising effect of TV revengendas Abstract The thirst for vengeance is a timeless subject in popular entertainment. One need only think of Old Testament scripture; Shakespeare's Hamlet; Quentin Tarantino's Kill Bill or the TV series Revenge, and we immediately conjure up images of a protagonist striving to seek justice to avenge a heinous wrong committed against them. These texts, and others like it, speak to that which is ingrained in our human spirit about not only holding others responsible for their actions, but also about retaliation as payback. This article seeks to problematise the way the popular revenge narrative effectively constructs the vendetta as a guilty pleasure through which the audience can vicariously gain satisfaction, while at the same time perpetuates law's rhetoric that personal desires for vengeance are to be repressed and denied. -
The Rise of Controversial Content in Film
The Climb of Controversial Film Content by Ashley Haygood Submitted to the Department of Communication Studies in partial fulfillment of the requirements for the degree of Masters of Arts in Communication at Liberty University May 2007 Film Content ii Abstract This study looks at the change in controversial content in films during the 20th century. Original films made prior to 1968 and their remakes produced after were compared in the content areas of profanity, nudity, sexual content, alcohol and drug use, and violence. The advent of television, post-war effects and a proposed “Hollywood elite” are discussed as possible causes for the increase in controversial content. Commentary from industry professionals on the change in content is presented, along with an overview of American culture and the history of the film industry. Key words: film content, controversial content, film history, Hollywood, film industry, film remakes i. Film Content iii Acknowledgements I would like to thank my family for their unwavering support during the last three years. Without their help and encouragement, I would not have made it through this program. I would also like to thank the professors of the Communications Department from whom I have learned skills and information that I will take with me into a life-long career in communications. Lastly, I would like to thank my wonderful Thesis committee, especially Dr. Kelly who has shown me great patience during this process. I have only grown as a scholar from this experience. ii. Film Content iv Table of Contents ii. Abstract iii. Acknowledgements I. Introduction ……………………………………………………………………1 II. Review of the Literature……………………………………………………….8 a. -
Jastics Delays' Rsveüge
Jastics Delays’ Rsveüge- . ■ C il 1X1 a i - . : . "Г / с;. Justice Delays Revenge- The Spanish Tragedy and Revenge Tradition A Thesis Submitted to the Faculty of Letters and the Institute of Economics and Social Sciences of Bilkent University in Partial Fulfilment of the Requirements for the Degree of Master of Arts in English Language and Literature ta «4^^ by Erhan Kukner September, 1991 PR. Л.65'4 ' S63 è- 3079 We certify that we have read this thesis and that in our combined opinion it is fully adequate, in scope and in quality, as a thesis for the degree of Master of Arts. Asst.Prof.Dr. Hamit Çalışkan (A d v i s o r ) L y ■'· Prof.Dr. Bülent Bozkurt (Committee Member) ' ^ 1 Dr. Laurence A. Raw Approved for the Institute of Economics and Social Sciences 1 1 Abstract Justice Delays Revenge- The Spanish Tragedy and Revenge Tradition Erhan Kükner M.A. In English Literature Advisor: Asst.Prof-Dr. Hamit Çalışkan September, 1991 The Spanish Tragedv. one of the best examples of English Renaissance drama, contributed towards the establishment of the revenge tragedy genre, which gained popularity in the years to come. Kyd in this play not only indicates that when the law is unjust, man will resort to revenge; but also demonstrates that a citizen should obey the ruler and regard revenge as a revolt against the state. Tl-is play tells the story of Hieronimo, who expects the murderer^ of his son to be punished. However, Hieronimo gradually discovers that the institutions of justice are useless and therefore takes revenge. -
Understanding Revenge Pornography: Public Perceptions of Revenge Pornography And
1 Understanding Revenge Pornography: Public Perceptions of Revenge Pornography and Victim Blaming Bothamley, S. Tully, R.J. (2017) Journal of Aggression, Conflict and Peace Research Abstract Purpose: The disclosure of private images with the intent of causing distress is often described as ‘revenge pornography’. In the UK, this newly legislated crime has received a high level of media attention following several high profile cases, however there is a paucity of research in this area. Methods: 168 adults (UK general public) completed an online survey using a vignette approach. Views of the influence of perpetrator-victim relationship length and reason for termination were considered alongside perception of an offence, the necessity of police intervention, what extent revenge pornography creates psychological harm in victims, and victim blaming. Findings: Perpetrator-victim relationship length and reason for relationship breakdown did not influence perceptions of victim blame. Participants believed that the situation described in the vignettes was likely to be an offence, and that police intervention is somewhat necessary. Participants believed that the scenario was ‘very likely’ to create fear, and ‘moderately likely’ to create psychological/mental harm in victims. In line with the literature relating to stalking and sexual assault, men blamed the victim significantly more than women. Furthermore, women rated police intervention significantly more necessary than men. Implications: The public are recognising that revenge pornography is an offence, with consequences being fear and psychological harm, showing an awareness of the impact on victims. However, there are sex differences in the perceptions of revenge pornography and victim blame and this could be addressed by raising awareness of this crime. -
The Understandings of Revenge Through Discussions with University Students
The understandings of revenge through discussions with University students Elise McKenna Honours Thesis in Legal Studies Murdoch University, 2016 Declaration: “I declare this thesis is my own account of my research and contains as its main content work which has not been previously submitted for a degree at any tertiary education institution” (Elise May McKenna) Abstract: The goal of this study was to examine how revenge is understood by a sample of university students using a grounded theory approach. Desires and acts of revenge were found to be more prevalent in interpersonal relationships than stranger to stranger. Revenge was also shown to be a behaviour made through a costs benefit analysis to the victim rather than an act of irrationality. In addition to this, the understanding and concepts of revenge by the students were at times to be influenced by how the media had portrayed it to them. Lastly, it was shown that acts of revenge were used in all different groups of victims and types of harms through indirect and direct behaviours. Acknowledgments: This research was initially supported by Dr Courtney Field and I would like to thank him for initiating my interest in the topic of revenge and providing me with his insight. I would also, however, like to express my sincere gratitude to my Supervisor- Associate Professor Guy Hall. Supervision for this thesis has been complicated and when I needed someone to step in he did not hesitate to take on this role. I am very grateful for the time, effort and encouragement Guy has provided me over this year and previous years. -
Revenge Season 4 Episode 3 Recap
Revenge season 4 episode 3 recap After three seasons of sudsy buildup, the highly anticipated reunion of "Emily Thorne" and David Clarke went down on Revenge this Sunday. Tonight on ABC Revenge returns with an all new Sunday October 12, season 4 episode 3 called "Ashes." On this evening's. And now, Revenge Season 4, Episode 3: “Ashes” The Stowaway burns in Montauk. Jack rushes inside and finds Emily. He gets her out as. type: TV Show; Current Status: In Season; seasons: 4; run date: 09/21/11 In last week's episode, Charlotte tried to burn her sister alive, and in. Abe seeks revenge, but Simcoe will be waiting. genre: Drama; run date: 04/06/14; broadcaster: AMC; seasons: 4; Current Status: In Season. Another day, another pearl- clutching episode of 'Revenge' in which we ate our emotions in the form of lobster rolls. But before we get into. Revenge season 4, episode 3, "Ashes," just finished airing. Read our recap to see what happened with our South Hampton residents this week. Revenge season 4, episode 3 recap: 'Ashes.' David tries to kill Emily, Victoria needs money, Charlotte runs scared, Daniel can't get a job. Season chronology. ← Previous Season 3 · List of Revenge episodes. The fourth and final season of the ABC American television drama series Revenge premiered .. Finally abandoning her persona of Emily, Amanda looks to her future, with this episode looking back over her relationships with those around her, her. Watch Revenge Season 4 Episode 3 Online Recap. Jack arrives at the Stowaway to see it in flames. -
Shakespeare and Poetry Pre-1900: Candidate Style Answers
AS LEVEL Candidate Style Answers with commentary H072 ENGLISH LITERATURE H072/01 Shakespeare and poetry pre-1900 December 2015 AS LEVEL ENGLISH LITERATURE CANDIDATE STYLE ANSWERS WITH COMMENTARY CONTENTS INTRODUCTION 3 SECTION 1 QUESTION 1(A) 4 QUESTION 1(B) 6 QUESTION 2(A) 8 QUESTION 2(B) 11 QUESTION 3(A) 14 QUESTION 3(B) 17 QUESTION 4(A) 19 QUESTION 4(B) 21 QUESTION 5(A) 23 QUESTION 5(B) 25 QUESTION 6(A) 28 QUESTION 6(B) 32 SECTION 2 QUESTION 7 36 QUESTION 8 39 QUESTION 9 43 QUESTION 10 46 QUESTION 11 48 We’d like to know your view on the resources we produce. By clicking on the ‘Like’ or ‘Dislike’ button you can help us to ensure that our resources work for you. When the email template pops up please add additional comments if you wish and then just click ‘Send’. Thank you. If you do not currently offer this OCR qualification but would like to do so, please complete the Expression of Interest Form which can be found here: www.ocr.org.uk/expression-of-interest OCR Resources: the small print OCR’s resources are provided to support the teaching of OCR specifications, but in no way constitute an endorsed teaching method that is required by the Board and the decision to use them lies with the individual teacher. Whilst every effort is made to ensure the accuracy of the content, OCR cannot be held responsible for any errors or omissions within these resources. © OCR 2015 – This resource may be freely copied and distributed, as long as the OCR logo and this message remain intact and OCR is acknowledged as the originator of this work. -
La Triste Realidad
Image not found or type unknown www.juventudrebelde.cu Image not found or type unknown The Resident Autor: Tomado de Internet Publicado: 30/03/2020 | 09:20 pm La triste realidad Se dice que la nómina de médicos brillantes la inauguró el recordado personaje Hawkeye en el clásico nombrado Mash, que estuvo en pantalla en Estados Unidos entre 1972 y 1983 Publicado: Lunes 30 marzo 2020 | 09:45:56 pm. Publicado por: José Luis Estrada Betancourt Para ser su primer día en el Chastain Park Memorial Hospital, de Atlanta, peor no le podía haber ido al joven doctor hindú Devon Pravesh (Manish Dayal), graduado de la Harvard Medical School, a pesar de que llegó con los deseos de comerse el mundo, vestido implacablemente con su corbata cara y el reloj de oro que le regalara su novia. Sus ilusiones pronto se las echará a perder quien tendrá la tarea de convertirse en su tutor, el prestigioso pero «insoportable» doctor Conrad Hawkins (Matt Czuchry), el cual se encargará de bajarlo de las nubes y darle la bienvenida al «mundo real», porque ya es tiempo, le dice, de olvidar «el cuento» que le hicieron en la universidad. Desde el principio, la superenfermera Nicolette Nevin (Emily VanCamp), antigua (y enseguida entenderemos que presente y hasta futura) amante de Hawkins le sugerirá al inexperto Pravesh que intente no quedarse con una primera y errónea impresión y empezar a odiar a su mentor, pues aunque este le haya dejado claro que: «Nunca me equivoco. Haz lo que sea que te diga, sin hacer preguntas», lo más importante siempre será que ese tipo de rasgos risueños (que tanto le favorecen) con apariencia de «maleducado, despectivo y arrogante, aprieta un tornillo, arregla el ruido, te cobra cinco pavos y problema resuelto». -
Symbolic Revenge in Holocaust Child Survivors Nancy Isserman
D 7 SYMBOLIC REVENGE IN HOLOCAUST CHILD SURVIVORS Nancy Isserman Introduction The attitudes of Holocaust survivors toward their persecutors present an intriguing subject for exploration. One component of the attitudes expressed is revenge. The concept of revenge is pervasive throughout literature, religious and legal writings, and history. Revenge is also considered a subset of political intolerance. Research on intolerance has been linked to age, education, and religious affiliation, among other demographic factors.1 Political intolerance is associated with low education, older age, rural residence, and fundamentalist reli- gious affiliation.2 My recent qualitative research found a connection between family-of-origin relationships and intolerance.3 Survivors who evidenced positive relationships with their family-of-origin caregivers also demonstrated tolerant attitudes toward the perpetrators of the genocide; conversely, survivors who had troubled relationships with their family-of-origin caregivers expressed intolerance toward the perpetrators.4 The Oxford Dictionaries online define revenge as both concrete and symbolic. The concrete definition incorporates physical behavior: “The action of inflicting hurt or harm on someone for an injury or wrong suffered at their hands.”5 Examples of concrete revenge are found in Holocaust survivor narratives during the later years of the war and immediately afterward. The most famous example of concrete revenge is Abba Kovner, who believed that “the Jews must seek revenge, answering a crime that could not be answered.”6 In the spring of 1945 he declared, “Yes, the War is over, but no, not for the Germans; it is time for the Germans to suffer; the Germans, who killed the Jews, must now pay with their own lives,”7 and quoted Psalm 94 in which God is called on to take revenge on the enemies of Israel. -
Boxoffice Barometer (March 6, 1961)
MARCH 6, 1961 IN TWO SECTIONS SECTION TWO Metro-Goldwyn-Mayer presents William Wyler’s production of “BEN-HUR” starring CHARLTON HESTON • JACK HAWKINS • Haya Harareet • Stephen Boyd • Hugh Griffith • Martha Scott • with Cathy O’Donnell • Sam Jaffe • Screen Play by Karl Tunberg • Music by Miklos Rozsa • Produced by Sam Zimbalist. M-G-M . EVEN GREATER IN Continuing its success story with current and coming attractions like these! ...and this is only the beginning! "GO NAKED IN THE WORLD” c ( 'KSX'i "THE Metro-Goldwyn-Mayer presents GINA LOLLOBRIGIDA • ANTHONY FRANCIOSA • ERNEST BORGNINE in An Areola Production “GO SPINSTER” • • — Metrocolor) NAKED IN THE WORLD” with Luana Patten Will Kuluva Philip Ober ( CinemaScope John Kellogg • Nancy R. Pollock • Tracey Roberts • Screen Play by Ranald Metro-Goldwyn-Mayer pre- MacDougall • Based on the Book by Tom T. Chamales • Directed by sents SHIRLEY MacLAINE Ranald MacDougall • Produced by Aaron Rosenberg. LAURENCE HARVEY JACK HAWKINS in A Julian Blaustein Production “SPINSTER" with Nobu McCarthy • Screen Play by Ben Maddow • Based on the Novel by Sylvia Ashton- Warner • Directed by Charles Walters. Metro-Goldwyn-Mayer presents David O. Selznick's Production of Margaret Mitchell’s Story of the Old South "GONE WITH THE WIND” starring CLARK GABLE • VIVIEN LEIGH • LESLIE HOWARD • OLIVIA deHAVILLAND • A Selznick International Picture • Screen Play by Sidney Howard • Music by Max Steiner Directed by Victor Fleming Technicolor ’) "GORGO ( Metro-Goldwyn-Mayer presents “GORGO” star- ring Bill Travers • William Sylvester • Vincent "THE SECRET PARTNER” Winter • Bruce Seton • Joseph O'Conor • Martin Metro-Goldwyn-Mayer presents STEWART GRANGER Benson • Barry Keegan • Dervis Ward • Christopher HAYA HARAREET in “THE SECRET PARTNER” with Rhodes • Screen Play by John Loring and Daniel Bernard Lee • Screen Play by David Pursall and Jack Seddon Hyatt • Directed by Eugene Lourie • Executive Directed by Basil Dearden • Produced by Michael Relph.