Tietoctsbington Post
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Life and Times of Penny Arcade. Matthew Hes Ridan Ames Louisiana State University and Agricultural & Mechanical College
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1996 "I Am Contemporary!": The Life and Times of Penny Arcade. Matthew heS ridan Ames Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Ames, Matthew Sheridan, ""I Am Contemporary!": The Life and Times of Penny Arcade." (1996). LSU Historical Dissertations and Theses. 6150. https://digitalcommons.lsu.edu/gradschool_disstheses/6150 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. -
Hooked on Reality Television: the Uses and Gratifications
SURVIVOR AND OTHER REALITY T.V. GAMESHOWS: THE USES AND GRATIFICATIONS PERSPECTIVE ON A REALITY SUB-GENRE by James A. Mead A Thesis submitted in Partial Fulfillment of the requirement for The Master of Mass Communication Degree Thesis Chair: Dr. William Cassidy THE UNIVERSITY OF WISCONSIN-WHITEWATER May 3, 2006 The University of Wisconsin-Whitewater Thesis Approved James A. Mead Date: Committee Members: Table of Contents Abstract of Thesis vi Chapter One: Introduction 1 Chapter Two: Literature Review 6 Introduction 6 Uses and Gratifications Perspective 6 Early History of Media Gratification 7 Development of Uses and Gratifications Theory 9 Extensions into Uses and Gratifications 10 Summary of Uses and Gratifications Theory 12 Television Popularity and the Audience 12 A Historical Review of the Television Genre 13 Reality TV: The Genre of Today 15 Reality TV: A Brief History 16 Understanding Reality Television Popularity 17 The Sub-Genres of Reality Television 20 Summary of the Television-Viewer Relationship 22 Chapter Three: Identifying Survivor as a Reality Icon 23 Introduction 23 The Survivor Gameplan 24 Motive One: Serial Format 25 Motive Two: Quality 27 Motive Three: Entertainment 28 Motive Four: Arousal 31 Motive Five: Sexual Interaction 31 Summary of Survivor’s Popularity 34 Restatement of Research Questions 34 iii Table of Contents (continued) Chapter Four: Methodology 36 Sample 36 Procedures 36 Survey Structure 36 Data Collection 38 Measures 39 Respondent Profiles 40 Summary of Methodology 42 Chapter Five: Results 44 Summary of -
American Television, Reality Shows by Nathan G
American Television, Reality Shows by Nathan G. Tipton Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2004, glbtq, inc. Reprinted from http://www.glbtq.com Richard Hatch, winner of In 2000, when self-described "fat naked fag" Richard Hatch emerged as the first- the Survivor reality show season winning contestant on the phenomenally popular network reality television in 2000. show Survivor, he credited his survival success in large part to his homosexuality. Courtesy Richard Hatch. According to Hatch, growing up gay, being part of a minority community--and thus subject to scrutiny by others--inspired him to be both introspective and egocentric. These dual poles of introspection and egocentrism are, in fact, key elements in understanding the important roles gay men and lesbians play within the confines of reality television shows, even as they present interpretive quandaries for hetero- and homosexual viewers alike. In a typical reality television show, particularly one with game-show trappings such as CBS's Survivor and Big Brother, or ABC's The Mole, cast members as well as viewers regard introspection as suspicious behavior. Surely, the viewers surmise, something is being hatched under that quiet façade, and usually this supposition is proved correct. For these shows' gay and lesbian participants, however, the conflation of introspection with cunning and plotting too easily becomes connected to the unfortunate stereotype that gay men and lesbians are inherently crafty, conniving, and untrustworthy. Even in ostensibly less competitive shows such as Bravo's Boy Meets Boy, Fox's Playing It Straight, and even MTV's "docusoap"--Sam Brenton and Reuben Cohen's neologism for a television show that seamlessly combines elements of documentary realism with soap opera-style plotting--The Real World, introspection is often seen as a negative attribute, indicating moodiness, insecurity, or simmering hostility. -
MEDIA STUDY/BUFFALO Januarywmay, 1984
MEDIA STUDY/BUFFALO JanuarywMay, 1984 Supported by the New York State Council on the Arts and the National Endowment for the Arts Schedule Staff BUSINESS MANAGER - Timothy J. McCann DATE TIME/PM PLACE Timothy McCann is a graduate of Niagara County Com- munity College and is continuing his education at the University of Buffalo School of Management. He is also JANVARY a member of the American Management Association. 27 (Friday) 8:30 MSIB YOSHIKO CHUMA - Independent Filmmakers FILM PROGRAMMER - Bruce Jenklns FEBRUARY Bruce Jenkins received a doctorate in Film from 2 (Thursday) 8:00 MS/B FESTIVAL PROGRAM 1 - Journey Across Three Continents Northwestern University where he served as an 3 (Friday) 8:00 MS/B FESTIVAL PROGRAM II -Journey Across Three Contents editor of Film Reader. He is project director of The 4 (Saturday) 8:00 HS PEARL BOWSER Presents Body and Soul - "Lost Films" American New Wave (1958-67) touring film series of the 1983 Robert Flaherty 8 (Wednesday) 8:00 MS/B BARBARA BUCKNER Video/Electronic Arts and was co-programmer 10 (Friday) 8:00 MSIB LIZZIE BORDEN - Independent Filmmakers Film Seminar. 11 (Saturday) 10:00 AM- VIDEO/ELECTRONIC ARTS CURATOR ~ AND MUSIC 5:00 PM THE ELECTRONIC NARRATIVE - A Daylong "Exploration" PROGRAMMER - John Minkowsky - VideolElectronic Arts - MS/B John Minkowsky did his graduate work at the Center for 11 (Saturday) 8:00 MS/B `BLUE' GENE TYRANNY - New Music Media Study at the State University of New York at Buf- 11 (Saturday) 8:00 HS UNKNOWN CHAPLIN - "Lost Films" falo and is currently editing a collection of essays, 15 (Wednesday) 8:00 MSIB SUSAN and ALAN RAYMOND - Video/Electronic Arts Design/Electronic Arts. -
Philadelphia Punk Gigography 1977-1987
Philadelphia Punk Gigography 1977-1987 1966 December 10 – Velvet Underground @ YMHA Auditorium December 11 – Velvet Underground @ YMHA Auditorium 1967 July 19 – Velvet Underground @ The Trauma July 20 – Velvet Underground @ The Trauma July 21 – Velvet Underground @ The Trauma July 22 – Velvet Underground @ The Trauma July 26 – Velvet Underground @ The Trauma July 27 – Velvet Underground @ The Trauma July 28 – Velvet Underground @ The Trauma July 29 – Velvet Underground @ The Trauma 1968 March 15 – Velvet Underground @ The Trauma March 16 – Velvet Underground @ The Trauma March 17 – Velvet Underground @ The Trauma May 1 – Blue Cheer @ Electric Factory May 2 – Blue Cheer @ Electric Factory May 3 – Blue Cheer @ Electric Factory September 20 – Velvet Underground @ Electric Factory September 21 – Velvet Underground @ Electric Factory 1969 May 9 – MC5 @ Mitten Hall, Temple University June 27 – Velvet Underground @ Electric Factory June 28 – Velvet Underground @ Electric Factory August 1 - Velvet Underground @ Electric Factory August 27 – Velvet Underground @ Second Fret August 28 – Velvet Underground @ Second Fret August 29 – Velvet Underground @ Second Fret August 30 – Velvet Underground @ Second Fret September 19 – Stooges @ Electric Factory September 20 – Stooges @ Electric Factory September 26 – MC5 @ Electric Factory September 27 – MC5 @ Electric Factory October 8 – Velvet Underground @ Second Fret October 9 – Velvet Underground @ Second Fret October 10 – Velvet Underground @ Second Fret October 11 – Velvet Underground @ Second Fret December -
The Complete Ask Scott
ASK SCOTT Downloaded from the Loud Family / Music: What Happened? website and re-ordered into July-Dec 1997 (Year 1: the start of Ask Scott) July 21, 1997 Scott, what's your favorite pizza? Jeffrey Norman Scott: My favorite pizza place ever was Symposium Greek pizza in Davis, CA, though I'm relatively happy at any Round Table. As for my favorite topping, just yesterday I was rereading "Ash Wednesday" by T.S. Eliot (who can guess the topping?): Lady, three white leopards sat under a juniper-tree In the cool of the day, having fed to satiety On my legs my heart my liver and that which had been contained In the hollow round of my skull. And God said Shall these bones live? shall these Bones live? And that which had been contained In the bones (which were already dry) said chirping: Because of the goodness of this Lady And because of her loveliness, and because She honours the Virgin in meditation, We shine with brightness. And I who am here dissembled Proffer my deeds to oblivion, and my love To the posterity of the desert and the fruit of the gourd. It is this which recovers My guts the strings of my eyes and the indigestible portions Which the leopards reject. A: pepperoni. honest pizza, --Scott August 14, 1997 Scott, what's your astrological sign? Erin Amar Scott: Erin, wow! How are you? Aries. Do you think you are much like the publicized characteristics of that sun sign? Some people, it's important to know their signs; not me. -
1 Ervin Jarek 2017 PHD.Pdf
ii © Copyright by Jarek Paul Ervin All Rights Reserved May 2017 iii ABSTRACT My dissertation takes a speculative cue from the reception of 1970s New York punk, which is typically treated as both rule – the symbolic site of origin – and exception – a protean moment before the crystallization of punk proper. For this reason, artists such as Velvet Underground, Patti Smith, the Ramones, and Blondie are today afforded the simultaneous status of originators, interlopers, innovators, and successors. This has led both to the genre’s canonicity in the music world and its general neglect within scholarship. I argue that punk ought to be understood less as a set of stylistic precepts (ones that could be originated and then developed), than as a set of philosophical claims about the character of rock music in the 1970s. Punk artists such as Patti Smith, Jayne County, and the Ramones developed an aesthetic theory through sound. This was an act of accounting, which foregrounded the role of historical memory and recast a mode of reflexive imagination as musical practice. At times mournful, at times optimistic about the possibility of reconciliation, punk was a restorative aesthetics, an attempt to forge a new path on memories of rock’s past. My first chapter looks at the relationship between early punk and rock music, its ostensible music parent. Through close readings of writing by important punk critics including Greil Marcus, Lester Bangs, and Ellen Willis – as well as analyses of songs by the Velvet Underground and Suicide – I argue that a historical materialist approach offers a new in-road to old debates about punk’s progressive/regressive musical character. -
UNIVERSITY of CALIFORNIA Los Angeles Coming out of The
UNIVERSITY OF CALIFORNIA Los Angeles Coming Out of the Television LGBT-themed Made-for-Television Movies as Critical Media Pedagogy Submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Education by David Randolph Craig 2014 © Copyright by David Craig 2014 ABSTRACT OF THE DISSERTATION Coming Out of the Television LGBT-themed Made-for Television Movies as Critical Media Pedagogy David Randolph Craig Doctor of Philosophy in Education University of California, Los Angeles, 2014 Professor Douglas M. Kellner, Chair Since the early 1970s, an important but under-examined subgenre of Made-for-Television Movies have foregrounded critical LGBT concerns, including coming out, parental custody, HIV/AIDS, gays in the military, and hate crimes or featured affirmative LGBT representations. These programs, often highly-rated and critically-acclaimed, were nonetheless sites of political contestation from social conservatives and LGBT activists. Through the lenses of critical media pedagogy, critical cultural studies, and critical media industries studies, this dissertation conducts a critical cultural history of LGBT TV movies. This history includes critical case studies of twenty seminal LGBT programs featuring original interviews with the producers, executives, and writers responsible for their pedagogical design. The evidence reflects how these programs helped frame these concerns, educate audiences, and advocate on behalf of the LGBT community. This research further suggests how progressive pedagogues and media -
RARE the Downtown Decade NYC 1975–1985
!1 of !20 The Downtown Decade RARE NYC 1975–1985 1) Makos, Christopher. Untitled. 1980. 2) Makos, Christopher. Debbie Harry. Silver gelatin print; 16 x 20; on verso: 1980. studio stamp with autograph date (80) Silver gelatin print; 16 x 20; on verso: in pencil; signed, editioned in pencil studio stamp with autograph date (80) (1/30). in pencil; signed, editioned in pencil SOLD (1/30). SOLD 3) Tannenbaum, Allan. John Lennon & 4) Tannenbaum, Allan. John & Yoko. 1981. Yoko Ono: 11/26/80. 1980. Silver gelatin print; 16 x 20; on verso: Silver gelatin print; 16 x 20; on verso: titled, signed, copyrighted (© 1981) in titled, signed, copyrighted in pencil pencil. (photograph © 1980 Allen Tannebaum). SOLD SOLD ! !2 of !20 5) Tannenbaum, Allan. Sid Vicious Under 6) Linn, Judith. Patti Smith. c. 1975. Arrest. 1978. Silver gelatin print; 20 x 16; on verso: Silver gelatin print; 16 x 20; on verso: signed, editioned (3/25) in pencil. titled, signed, copyrighted in pencil SOLD (“photograph © 1978 Allen Tannebaum”). SOLD 7) Resnick, Marcia. Victor with Scar from “Bad Boys.” 1980. Silver gelatin print; 16 x 20; on verso: titled, signed, dated (1980), editioned (1/30) in pencil. 8) Resnick, Marcia. Divine from SOLD “Bad Boys.” 1980. Silver gelatin print; 20 x 16; on verso: titled, signed, dated (1980), editioned (1/30) in pencil. SOLD ! !3 of !20 9) Williams, Larry. Nick Roeg. 1980. 10) Simon, Kate. John Lydon in Silver gelatin print; 20 x 16 on verso: Jamaica. 1981. studio stamp; titled, signed, dated Silver gelatin print; 20 x 16; on verso: (1980) in pencil. -
New York: No Wave Cinema
A DEFINING PERIOD IN THE HISTORY OF THE NEW YORK: RELATIONSHIP BETWEEN NO WAVE CINEMAFILM, ART AND MUSIC Cover image: Debbie Harry from The Blank Generation, [1976, 16mm], photo: Fernando Natalici. Courtesy of Amos Poe. This page: Unmade Beds, [1977, 16mm], photo: Fernando Natalici. Courtesy of Amos Poe. The Cast: Blondie (Debbie Harry, Chris Stein), Talking Heads, The Ramones, Television, Jean-Michel Basquiat, Glenn O’Brien, David McDermott, Patty Astor, James Nares, Eric Mitchell, Amos Poe, Keith Haring, Kenny Sharf, Julian Schnabel, Fab Five Freddy, King Kreole and the Coconuts, Arto Lindsay and DNA, James White and the Blacks, The Plastics, Duncan Hannah, Lydia Lunch, Klaus Nomi, George Clinton, Maripol, Danny Rosen, Patti Smith, Vivienne Dick, Ivan Kral, John Lurie, Jim Jarmusch, Tom DiCillo, Diego Cortez, Lee Quinones, Vincent Gallo, Steve Buscemi and many, many more… Clockwise, from top left: The Blank Generation, [1976, 16mm]. Debbie Harry from The Foreigner, [1978, 16mm]. The Foreigner, [1978, 16mm]. Photos: Fernando Natalici. Courtesy of Amos Poe. BACKGROUND From the mid 1970s to the early 1980s, New However, it was in 1975 when Amos Poe, an York City’s East Village was the home, studio Israeli-born photographer, and Ivan Kral, the and playground to an eclectic group of young guitarist with Patti Smith Group, set out to arrivals, hailing from all parts of America as well direct and produce a 16mm film on the punk as Europe. Although from disparate backgrounds, scene. The result was the cult classic, THE these newcomers shared similar interests and BLANK GENERATION. The film depicts seminal passions about music, art, film and performance. -
Youth Perceptions of Mtv Reality
WHEN IS REALITY REAL?: YOUTH PERCEPTIONS OF MTV REALITY PROGRAMS A thesis presented to the faculty of the Scripps College of Communication of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Rachel M. Potratz November 2007 2 This thesis titled WHEN IS REALITY REAL?: YOUTH PERCEPTIONS OF MTV REALITY PROGRAMS by RACHEL M. POTRATZ has been approved for the School of Telecommunications and the Scripps College of Communication by Norma Pecora Professor, School of Telecommunications Gregory J. Shepherd Dean, Scripps College of Communication 3 Abstract POTRATZ, RACHEL M., M.A., November 2007, School of Telecommunications WHEN IS REALITY REAL?: YOUTH PERCEPTIONS OF MTV REALITY PROGRAMS (125 p). Director of Thesis: Norma Pecora This thesis examines how college freshmen relate to the personalities and content on MTV reality programs. Drawing from current theories about how viewers relate to television such as realism perceptions, identification, wishful identification, and parasocial interaction, this project looks takes a qualitative approach to understanding the particular relationships that exist between young viewers and the content and young casts of MTV reality programs. Eight college freshmen at a Midwestern university were interviewed about their perceptions of MTV reality programs, particularly Real World, Laguna Beach and The Hills. Additionally, a survey of 78 students was conducted in an introductory telecommunications course. It was found that judgments about the realism were based primarily on the students’ use of comparisons with their own lives and experiences. Additionally, knowledge of production processes played a role in realism perceptions. It was also found that students engaged in parasocial interaction and used reality television to learn about the world. -
Michael Heath
Mike Heath Michael Layne Heath January 6, 2019 San Francisco, CA. 0:00:00 to 1:00:54 ________________________________________________________________________ 0:00:00 Davis: Today is January 6th, 2019. My name is John Davis. I’m the Performing Arts Metadata Archivist at the University of Maryland. Today, I’m speaking with Michael Heath. Heath: Shall I introduce myself? Davis: Yes, please. Heath: All right. Hello. My name is Michael Layne Heath. I am a writer, poet, musician, citizen journalist, and in a previous lifetime, was a minor character in the ensuing drama of the Washington D.C. alternative music community of the ‘70s and ‘80s. Davis: All right. Well done. So just getting started, you can tell from the first issue of Vintage Violence you have already a pretty deep fascination with rock and roll, and the kind of rock and roll that wasn’t readily listenable, if you will. I don’t know how much you were hearing... Heath: Or available. Or accessible. Davis: Right. So it kind of makes sense to me that something like punk would also wind up on your radar. But can you tell me a bit about how you got into punk? Heath: Well, I was always an inquisitive kid as far as culture and especially music, and was very much into—thirsty for new experiences aesthetically. You couldn't hear a lot of the stuff that I was interested in, that I had read about in magazines, on the radio in the mid-‘70s, although there was an excellent show on WINX called Heavy Metal Thunder.