23 CHAPTER 3 RESEARCH METHOD Research Method Is A
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Girl Rising Has Made Midriff-Baring Dresses
in Taylor Swift (left) with Shraddha Karlie Kloss Kapoor Parineeti Chopra Lorde (left) with Charli XCX at Alia Bhatt the 2014 MTV Movie Awards Miley Cyrus VIEWPOINT names of designers.” But there is a reason we Our collective frown upon men in denim overalls—unless fear of ageing they’re Calvin Klein models—and little girls in Girl rising has made midriff-baring dresses. Fashion, if not style, has an age and station. On a recent visit to Accessorize with a friend the totems While much has been said about the shocking and her three-year-old daughter, I was asked by and motifs of sexualisation of teenage girls à la Gossip Girl, a fellow shopper to help pick between a hairclip I’m keen to enter the room from the other door. with cupcakes and one with pink pastel butter- teenage girls a What about the girlifi cation of women? Why fl ies. All of us, including the three-year-old, thing of fetish. are grown women trying to dress like they’re gave the butterfl ies a nod (because cupcakes in 11? When did it become okay to do so? And your hair are plain weird), and I was about to As our female what does it say about us? ask who they were for, when the woman start- celebrities ed trying them on. She was wearing an amber FASHION’S PRINCESS MOMENT chiffon shirt and black trousers, and in my gen- get younger Sonam Kapoor, Amy Adams, Carrie Under- eral mapping seemed like someone who worked everyday, wood—women lauded for their red-carpet ap- in fi nance. -
Gossip Girl Viral Promotion Problem Statement
Group 4 - Round Table Media Case 14-1: Gossip Girl Viral Promotion Problem Statement: The CW’s show Gossip Girl has lost live viewers, which decreases the value of the advertising spots available during the show. The network seeks to increase live viewership by incentivizing viewers via a creative, viral campaign to watch Gossip Girl live instead of recording the show and watching it later. Critical Factors: A. The primary target market for this campaign is women, 18-24 years of age. The CW is the only network capturing women in this target. The secondary target market is college males. B. Increased use of digital video recorders, websites streaming television shows, and services like DirecTV and Tivo means that viewers are choosing to record shows and watch them later, and can fast forward through commercials.1 C. The CW has requested this campaign be a non-traditional and outside-the-box publicity and promotional campaign. The CW network executives highly admired Jack in the Box’s “Hang in There Jack” campaign and its use of non-traditional media. D. The CW Network has fourteen weeks to launch a viral Gossip Girl media campaign before the next season premiere, then the campaign will continue while Gossip Girl airs. E. Gossip Girl emphasizes fashion and technology, and is influential in these industries. F. The success of the promotional campaign will be measured by changes in ratings during the time of the campaign, and hopefully will result in a significant increase in ratings. G. Gossip Girl is one of The CW’s most popular series, so it is understood that we are working with a large budget. -
AGE Qualitative Summary
AGE Qualitative Summary Age Gender Race 16 Male White (not Hispanic) 16 Male Black or African American (not Hispanic) 17 Male Black or African American (not Hispanic) 18 Female Black or African American (not Hispanic) 18 Male White (not Hispanic) 18 Malel Blacklk or Africanf American (not Hispanic) 18 Female Black or African American (not Hispanic) 18 Female White (not Hispanic) 18 Female Asian, Asian Indian, or Pacific Islander 18 Male Asian, Asian Indian, or Pacific Islander 18 Female White (not Hispanic) 18 Female White (not Hispanic) 18 Female Black or African American (not Hispanic) 18 Male White (not Hispanic) 19 Male Hispanic (unspecified) 19 Female White (not Hispanic) 19 Female Asian, Asian Indian, or Pacific Islander 19 Male Asian, Asian Indian, or Pacific Islander 19 Male Asian, Asian Indian, or Pacific Islander 19 Female Native American or Alaskan Native 19 Female White (p(not Hispanic)) 19 Male Hispanic (unspecified) 19 Female Hispanic (unspecified) 19 Female White (not Hispanic) 19 Female White (not Hispanic) 19 Male Hispanic/Latino – White 19 Male Hispanic/Latino – White 19 Male Native American or Alaskan Native 19 Female Other 19 Male Hispanic/Latino – White 19 Male Asian, Asian Indian, or Pacific Islander 20 Female White (not Hispanic) 20 Female Other 20 Female Black or African American (not Hispanic) 20 Male Other 20 Male Native American or Alaskan Native 21 Female Don’t want to respond 21 Female White (not Hispanic) 21 Female White (not Hispanic) 21 Male Asian, Asian Indian, or Pacific Islander 21 Female White (not -
Gossip Girl-Season1 Episode3 (The Letter)
www.SSEcoach.com Gossip Girl-Season1 Episode3 – Blair reads her letter to Serena Title: Gossip Girl – The letter Time – 2:31 Part 1 - Script 1. Blair: Whenever something’s bothering you, I can always find you here. 2. Serena: You here for another catfight? 3. Serena: What’s that? 4. Blair: A letter; I wrote it to you when you were away at boarding school. 5. Blair: I never sent it. 6. Blair: Dear Serena, my world is falling apart and you’re the only one who would understand. My father left my mother for a 31 year old model; a male model. I feel like screaming because I don’t have anyone to talk to. 7. Blair: You’re gone. My dad’s gone. Nate’s acting weird. Where are you? Why don’t you call? Why did you leave without saying goodbye? 8. Blair: You’re supposed to be my best friend. I miss you so much. Love Blair. 9. Serena: Why didn’t you send it? I would’ve- 10. Blair: You would’ve what! 11. Blair: You knew Serena and you didn’t even call. 12. Serena: I didn’t know what to say to you. I didn’t know how to be your friend after what I did. I’m so sorry. 13. Blair: Erik told me what happened; I guess your family’s been going through a hard time too. 14. Gossip Girl: Spotted in Central Park: Two white flags waving. Could an Upper East Side peace accord be far off? 15. Gossip Girl: So what will it be? Truce or consequences? We all know one nation can’t have two queens. -
The Intertwining of Multimedia in Emma, Clueless, and Gossip Girl Nichole Decker Honors Scholar Project May 6, 2019
Masthead Logo Scholar Works Honors Theses Honors 2019 Bricolage on the Upper East Side: The nI tertwining of Multimedia in Emma, Clueless, and Gossip Girl Nichole Decker University of Maine at Farmington Follow this and additional works at: https://scholarworks.umf.maine.edu/honors_theses Part of the Comparative Literature Commons Recommended Citation Decker, Nichole, "Bricolage on the Upper East Side: The nI tertwining of Multimedia in Emma, Clueless, and Gossip Girl" (2019). Honors Theses. 5. https://scholarworks.umf.maine.edu/honors_theses/5 This Research Project is brought to you for free and open access by the Honors at Scholar Works. It has been accepted for inclusion in Honors Theses by an authorized administrator of Scholar Works. For more information, please contact [email protected]. 2 Bricolage on the Upper East Side: The Intertwining of Multimedia in Emma, Clueless, and Gossip Girl Nichole Decker Honors Scholar Project May 6, 2019 “Okay, so you’re probably going, is this like a Noxzema commercial or what?” - Cher In this paper I will analyze the classic novel Emma, and the 1995 film Clueless, as an adaptive pair, but I will also be analyzing the TV series, Gossip Girl, as a derivative text. I bring this series into the discussion because of the ways in which it echos, parallels, and alludes to both Emma and Clueless individually, and the two as a source pair. I do not argue that the series is an actual adaptation, but rather, a sort of collage, recombining motifs from both source texts to create something new, exciting, and completely absurd. -
THE WEALTH Drying up Proposed Sales Tax Bill Could Unite in Budget Urban, Rural Counties in N.C
‘HE HAS A FEEL FOR THE Today’s weather SPEED OF THE GAME’ Mild to moderate Inside Bentley Spain, a sophomore offensive back sweat. PLAYING SACRED MUSIC lineman, might surprise you when H 85, L 64 UNC senior and DTH reporter Eric you ask him what he aspires to do one Surber drives to Duke University six day: He hopes to be a NASCAR driver, Thursday’s weather mornings a week to practice playing as he notes in his GoHeels profile. Partly cloudy. the organ. See page 3. See page 5. H 84, L 65 Serving UNC students and the University community since 1893 Volume 123, Issue 60 dailytarheel.com Wednesday, August 26, 2015 Driver’s $ SPREAD ed funds THE WEALTH drying up Proposed sales tax bill could unite in budget urban, rural counties in N.C. Many N.C. public school By Charles Talcott The current scheme has segmented Senior Writer the state, providing huge advantages to districts have suspended booming urban areas while neglecting A bill in the N.C. leg- other counties, Brown said. the teaching program. islature could real- Wake County receives $145 million locate hundreds of from sales tax revenue annually, com- By Corey Risinger DTH/JUN CHOU millions of dollars pared with nearby Warren County’s Assistant State & National Editor from urban retail $2.4 million, Brown said. Likewise, centers like Chapel Mecklenburg County receives $193 mil- Shelby High School Principal Hill to rural communi- lion, while neighboring Anson County David Allen has watched a dwin- ties — and it has elicited criticism from receives $2.8 million, he said. -
Thrill of the Chace
REVIEW Ed and Thrill of Jessica are dating in real life KELLY RUTHERFORD CE (Lily van der Woodsen) It’s a case of life imitating THELUCKY SHANNON O’M EARACHA KEEPS A DATE Ed and art as 40-year-old WITH GOSSIP GIRL NICE GUY NATE Chace are Kelly, who plays a great mates multi-divorced mum, off-screen battles for custody of her WAKE-UP call at 6am is not real-life son, Hermès. much fun, although if Chace ED WESTWICK Crawford – Gossip Girl’s Nate (Chuck A Bass), CHACE CRAWFORD Archibald – is at the end of the line, (Nate Archibald) and JESSICA could there be a better reason to get SZOHR (Vanessa Abrams) up in the morning? Nate and Vanessa briefly dated on So Grazia happily (and breathlessly) the show, but party-boy Ed is now takes the call from the Texan romancing Jessica in the real world – heart-throb, who has a rare day off despite the gay rumours that plague former flatmates Ed and Chace. from !lming the hit drama series. The 23-year-old is eager to tell us about his crush on Australia and his penchant for Aussie stars. “I want to get to Australia so bad,” Chace says. “Ed [Westwick, aka Chuck Bass] has of the been down there and he had a blast. Real-life drama s Australia is de!nitely next on my list. The accent, the girls!” CAST Despite having hordes of female GOSSIP GI RL fans, the actor remains surprisingly THE ON-SCREEN SOAP OPERA HAS grounded, mostly thanks to some NOTHING ON THEIR OFF-SCREEN PLOTS good ole southern values. -
GOSSIP GIRL by Cecily Von Ziegesar
Executive Producer Josh Schwartz Executive Producer Stephanie Savage Executive Producer Bob Levy Executive Producer Les Morgenstein Executive Producer John Stephens Co-Executive Producer Joshua Safran Producer Amy Kaufman Producer Joe Lazarov Episode 206 “New Haven Can Wait” Written by Alexandra McNally & Joshua Safran Directed by Norman Buckley Based on GOSSIP GIRL by Cecily von Ziegesar Double White Revisions 8/20/08, pg. 41 Goldenrod Revisions 8/14/08, pgs. 2, 3, 3A Green Revisions 8/12/08, pg. 16 Yellow Revisions 8/12/08, pgs. 5, 20, 20A-21, 22, 23, 31, 31A, 31B-32, 32A, 33, 36, 37, 38, 38A-39, 49A, 50, 51 Full Pink Revisions 8/11/08 Full Blue Revisions 8/8/08 Production #: 3T7606 Production Draft 8/5/08 © 2008 Warner Bros. Entertainment Inc. This script is the property of Warner Bros. Entertainment, Inc. No portion of this script may be performed, reproduced or used by any means, or disclosed to, quoted or published in any medium without the prior written consent of Warner Bros. Entertainment Inc. “New Haven Can Wait” Character List CAST Serena van der Woodsen Blair Waldorf Dan Humphrey Jenny Humphrey Nate Archibald Chuck Bass Rufus Humphrey Lily Bass Eleanor Waldorf Dorota Vanessa Abrams Headmaster Prescott Headmistress Queller Assistant GUEST CAST * Dean Berube (pronounced Barraby) Jordan Steele Skull and Bones Leader Skull Bones Shirley History Professor Girl (Miss Steinberg) Yale Guy EXTRAS Constance and St. Jude’s Seniors Yale Students Serena’s Driver Yale Guys and Two Super-Hot Yale Girls Skull and Bones Members Three Masked -
The Fashion Industry As a Slippery Discursive Site: Tracing the Lines of Flight Between Problem and Intervention
THE FASHION INDUSTRY AS A SLIPPERY DISCURSIVE SITE: TRACING THE LINES OF FLIGHT BETWEEN PROBLEM AND INTERVENTION Nadia K. Dawisha A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Communication in the College of Arts and Sciences. Chapel Hill 2016 Approved by: Patricia Parker Sarah Dempsey Steve May Michael Palm Neringa Klumbyte © 2016 Nadia K. Dawisha ALL RIGHTS RESERVED ii ABSTRACT Nadia K. Dawisha: The Fashion Industry as a Slippery Discursive Site: Tracing the Lines of Flight Between Problem and Intervention (Under the direction of Dr. Patricia Parker) At the intersection of the glamorous façade of designer runway shows, such as those in Paris, Milan and New York, and the cheap prices at the local Walmart and Target, is the complicated, somewhat insidious “business” of the fashion industry. It is complicated because it both exploits and empowers, sometimes through the very same practices; it is insidious because its most exploitative practices are often hidden, reproduced, and sustained through a consumer culture in which we are all in some ways complicit. Since fashion’s inception, people and institutions have employed a myriad of discursive strategies to ignore and even justify their complicity in exploitative labor, environmental degradation, and neo-colonial practices. This dissertation identifies and analyzes five predicaments of fashion while locating the multiple interventions that engage various discursive spaces in the fashion industry. Ultimately, the analysis of discursive strategies by creatives, workers, organizers, and bloggers reveals the existence of agile interventions that are as nuanced as the problem, and that can engage with disciplinary power in all these complicated places. -
We Are All Gossip Girl”: Gossip Girl and the Promise of Interactive Television
PREVIOUSLY ON “We are all Gossip Girl”: Gossip Girl and the Promise of Interactive Television Elisa Lange In November 2010, Current TV, a cable network founded by former Vice President Al Gore, has started airing a 30 minute TV series called Bar Karma, which is created in online collaboration with fans and is thus a new step to truly participatory and interactive TV. On a website users can pitch storylines, comment on submitted entries, talk to the producers, and contribute marketing ideas. The show is co-produced by SimCity creator Will Wright and features well-known actors like William Sanderson (http://current.com/studios/about/). Of course, there is no guarantee that the fans’ story idea will find its way into the actual show since the producers and writers still hold the power to decide how and if a pitch is worked into the final product. Still, this project allows viewer to have more than an imaginary control over the televised narrative even if the project’s success still remains to be seen. Still, interactivity rarely plays out on the primary level of the TV program itself, but more commonly on the secondary level and tertiary level of the televisual text, that is network created websites that allow some contributions from fans and unregulated communications between fans (Fiske, 1983: 85). Interactivity within the TV landscape is often associated with the viewers’ ability to turn from passive consumers into active producers of content that “adds” to the televised narrative but does not change it (Hassapopoulou, 2010: 48). This distinction usually does not to take into account that even when viewers are passively sitting on their couch watching soap operas, their minds are still actively engaged in making sense of the narratives and relationships. -
Do You Fit the Alloy Mold?
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2013 Do You Fit the Alloy Mold? The Homogenization of Structure and Audience in the Television Adaptations of 'Gossip Girl,' 'Pretty Little Liars,' and 'The Vampire Diaries' Caitlin Murray Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the English Language and Literature Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/3064 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. © Caitlin Murray 2013 All Rights Reserved Do You Fit the Alloy Mold? The Homogenization of Structure and Audience in the Television Adaptations of Gossip Girl, Pretty Little Liars, and The Vampire Diaries A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in English at Virginia Commonwealth University. by Caitlin Murray Bachelor of Arts, Virginia Tech, Blacksburg, VA, 2010 Director: Dr. Richard Fine, Professor of English Virginia Commonwealth University Richmond, Virginia April 25, 2013 Acknowledgment The author wishes to thank several people. I would like to thank my parents and my sister for their unending love and support. I would also like to thank Zachary for his support and patience in the year it took me to write this thesis. I would like to thank my committee members, Dr. Christenbury and Dr. Brinegar for all of the help they have given me throughout this process. -
Extended Essay Code: Hmb426 Research Question: in What Ways
Extended Essay Code: hmb426 Research question: In what ways does the show Gossip Girl portray traditions in New York’s elite class? November 2019 Word count: 3918 Table of Contents Introduction: Chapter 1: New York’s elite class and the relevance of traditions. Chapter 2: How traditions play a role in the American family and with this how is it pursued with wealth. Conclusion: Bibliography: Introduction: In this extended essay, I will analyze how the behavior of people that are part of an elite class, especially in a city like New York, known for having every kind of social class possible, from homeless people to extremely rich and wealthy people. In this case, I will explain how the elite class carries family traditions and furthermore, how their social and economic state influences their family development and their kid's emotional growth when it comes to talking about specific things such as in traditions. The artifact that I will be using is the worldwide famous series Gossip Girl, that at first, it was a series of books published in April 2002 and stopped in the month of May 2007, and after all the success it had, the author, Cecily Von Ziegesar sold the legal right to the books to Josh Schwartz and Stephanie Savage to take the series to a young adult show in The CW network for six seasons from September 19, 2007, to December 17, 2012. Gossip Girl was a big hit between those years and to this day teenagers are still watching the series. To summarize the story plot, Gossip Girl is about the scandalous life’s of a group of teenagers and their families living their best life in the Upper East Side of Manhattan, but when it comes to it, it shows the struggles of being part of the elite class and the social pressure that comes with it.