Gender, Race, and Class in Media a Critical Reader

Total Page:16

File Type:pdf, Size:1020Kb

Gender, Race, and Class in Media a Critical Reader GENDER, RACE, AND CLASS IN MEDIA A CRITICAL READER 2Q GAIL DINES o Wheelock College b JEAN M. HUMEZ UJ University of Massachusetts, Boston Los Angeles I London I New Delhi Singapore I Washington DC TENTS Preface to the Third Edition XI Acknowledgments xv PART I. A CULTURAL STUDIES APPROACH TO MEDIA: THEORY 1 1. Cultural Studies, Multiculturalism, and Media Culture 7 Douglas Kellner 2. The State of Media Ownership and Media Markets: Competition or Concentration and Why Should We Care? 19 Dwayne Winseck 3. The Meaning of Memory: Family, Class, and Ethnicity in Early Network Television Programs 25 George Lipsitz 4. Hegemony 33 James Lull 5. Extreme Makeover: Home Edition: An American Fairy Tale 37 Gareth Palmer 6. Women Read the Romance: The Interaction of Text and Context 45 Janice Radway 7. Star Trek Rerun, Reread, Rewritten: Fan Writing as Textual Poaching 57 Henry Jenkins lIT PART II. REPRESENTATIONS OF GENDER, RACE, AND CLASS 67 8. Hetero Barbie? 71 Mary F. Rogers 9. Sex and the City: Carrie Bradshaw's Queer Postfeminism 75 Jane Gerhard 10. The Whites of Their Eyes: Racist Ideologies and the Media 81 Stuart Hall 11. Pornographic Eroticism and Sexual Grotesquerie in Representations of African American Sportswomen 85 James McKay and Helen Johnson 12. What Does Race Have to Do With Ugly Betty? An Analysis of Privilege and Postracial(?) Representation on a Television Sitcom 95 Jennifer Esposito 13. Ralph, Fred, Archie, Homer, and the King of Queens: Why Television Keeps Re-Creating the Male Working-Class Buffoon 101 Richard Butsch PART III. READING MEDIA TEXTS CRITICALLY 111 14. Television's "New" Feminism: Prime-Time Representations of Women and Victimization 115 Lisa M. Cuklanz and Sujata Moorti 15. Mother of the Year: Kathy Hilton, Lynne Spears, Dina Lohan, and Bad Celebrity Motherhood 127 Shelley Cobb 16. More Than Baby Mamas: Black Mothers and Hip-Hop Feminism 137 Marlo David Azikwe 17. Political Culture Jamming: The Dissident Humor of The Daily Show With Jon Stewart 145 Jamie Warner 18. Educating The Simpsons: Teaching Queer Representations in Contemporary Visual Media 155 Gilad Padva 19. "Sexy Like a Girl and Horny Like a Boy": Contemporary Gay "Western" Narratives About Gay Asian Men 163 Chong-suk Han 20. When in Rome: Heterosexism, Homophobia, and Sports Talk Radio 171 David Nylund 21. Disability, Gender, and Difference on The Sopranos 185 Kathleen LeBesco PART IV. ADVERTISING AND CONSUMER CULTURE 195 22. Image-Based Culture: Advertising and Popular Culture 199 SutJhally 23. The New Politics of Consumption: Why Americans Want So Much More Than They Need 205 Juliet Schor 24. Reaching African American Consumers: African American Shopping Behavior 213 Barbara Mueller 25. Inventing the Cosmo Girl: Class Identity and Girl-Style American Dreams 221 Laurie Ouellette 26. Sex, Lies, and Advertising 235 Gloria Steinem 27. Unraveling the Knot: Political Economy and Cultural Hegemony in Wedding Media 243 Erika Engstrom 28. Supersexualize Me! Advertising and the "Midriffs" 255 Rosalind Gill 29. Advertising and the Construction of Violent White Masculinity: From BMWs to Bud Light 261 Jackson Katz PART V. REPRESENTING SEXUALITIES 271 30. White Man's Burden: Gonzo Pornography and the Construction of Black Masculinity 275 Gail Dines 31. No Money Shot? Commerce, Pornography, and New Sex Taste Cultures 283 Feona Attwood 32. "That's So Fun": Selling Pornography for Men to Women in The Girls Next Door 293 Karen Boyle 33. One Night in Paris (Hilton): Wealth, Celebrity, and the Politics of Humiliation 301 Thomas Fahy 34. The Pornography of Everyday Life 307 Jane Caputi 35. "There Are Bitches and Hoes" 321 Tricia Rose 36. Three Faces of Eva: Perpetuation of the Hot-Latina Stereotype in Desperate Housewives 327 Debra Merskin 37. The Limitations of the Discourse of Norms: Gay Visibility and Degrees of Transgression 335 Jay Clarkson 38. "This is the Way We Live ... and Love!": Feeding on and Still Hungering for Lesbian Representation in The L Word 337 Marnie Pratt PARTVI. GROWING UP WITH CONTEMPORARYMEDIA 349 39. The Future of Childhood in the Global TelevisionMarket 355 Dafna Lemish 40. From Tony the Tiger to Slime Time Live: The Content of Commercial Images in Children's Advertising 365 Juliet B. Schor 41. La Princesa Plastica: Hegemonic and Oppositional Representations of Latinidad in Hispanic Barbie 375 Karen Goldman 42. Monarchs, Monsters, and Multiculturalism: Disney's Menu for Global Hierarchy 383 Lee Artz 43. Constructing the "New Ethnicities": Media, Sexuality, and Diaspora Identity in the Lives of South Asian Immigrant Girls 389 Meenakshi Gigi Durham 44. HIV on TV: Conversations With Young Gay Men 399 Kathleen P. Farrell 45. Why Youth (Heart) Social Network Sites: The Role of Networked Publics in Teenage Social Life 409 danah boyd 46. Born to Be Wired 419 Kathryn C. Montgomery 47. Video Games and Machine Dreams of Domination 427 John Sanbonmatsu 48. Strategic Simulations and Our Past: The Bias of Computer Games in the Presentation of History 437 Kevin Schut 49. "You Play Like a Girl": Cross-Gender Competition and the Uneven Playing Field 443 Elena Bertozzi PARTVII. ISTV FOR REAL? 455 50. Marketing "Reality" to the World: Suroivor, Post-Fordism, and Reality Television 459 Chris jordan 51. The Political Economy of Amateurism 467 Andrew Ross 52. Critiquing Reality-Based Televisual Black Fatherhood: A Critical Analysis of Run's House and Snoop Dogg's Father Hood 469 Debra C. Smith 53. Disciplining the Housewife in Desperate Housewives and Domestic Reality Television 481 Sharon Sharp 54. "Take Responsibility for Yourself": Judge Judy and the Neoliberal Citizen 487 Laurie Ouellette 55. The Anxieties of the Enterprising Self and the Limits of Mind Cure in the Age of Oprah 497 janice Peck 56. Television and the Domestication of Cosmetic Surgery 509 Sue Tait 57. "Tyra Banks Is Fat": Reading (Post-) Racism and (Post-) Feminism in the New Millennium 519 Ralina L. joseph 58. Resisting, Reiterating, and Dancing Through: The Swinging Closet Doors of Ellen DeGeneres's Televised Personalities 531 Candace Moore PARTVIII. INTERACTIVITY,VIRTUALCOMMUNITY, AND FANDOM 541 59. Pop Cosmopolitanism: Mapping Cultural Flows in an Age of Convergence 545 Henry jenkins III 60. Reading the Romance of Fan Cultural Production: Music Videos of a Television Lesbian Couple 553 EveNg 61. "Don't Hate the Player, Hate the Game": The Racialization of Labor in World of War craft 563 Lisa Nakamura 62. Sex Lives in Second Life 571 Robert Alan Brookey and Kristopher L. Cannon 63. From Smart Fan to Backyard Wrestler: Performance, Context, and Aesthetic Violence 583 Lawrence B. McBride and S. Elizabeth Bird 64. Accidental Activists: Fan Activism in the Soap Opera Community 591 Melissa C. Scardaville 65. Insiders-Outsiders: Dr. Laura and the Contest for Cultural Authority in LGBT Media Activism 601 Vincent Doyle Alternative Contents Index 613 A List of Resources and Media Activist Organizations 617 Glossary 623 Author Index 633 Subject Index 645 About the Editors 661 About the Contributors 663.
Recommended publications
  • Representations of Bisexual Women in Twenty-First Century Popular Culture
    Straddling (In)Visibility: Representations of Bisexual Women in Twenty-First Century Popular Culture Sasha Cocarla A thesis submitted to the Faculty of Graduate and Postdoctoral Studies in partial fulfillment of the requirements for the Doctorate of Philosophy in Women's Studies Institute of Feminist and Gender Studies Faculty of Social Sciences University of Ottawa © Sasha Cocarla, Ottawa, Canada 2016 Abstract Throughout the first decade of the 2000s, LGBTQ+ visibility has steadily increased in North American popular culture, allowing for not only more LGBTQ+ characters/figures to surface, but also establishing more diverse and nuanced representations and storylines. Bisexuality, while being part of the increasingly popular phrase of inclusivity (LGBTQ+), however, is one sexuality that not only continues to be overlooked within popular culture but that also continues to be represented in limited ways. In this doctoral thesis I examine how bisexual women are represented within mainstream popular culture, in particular on American television, focusing on two, popular programs (The L Word and the Shot At Love series). These texts have been chosen for popularity and visibility in mainstream media and culture, as well as for how bisexual women are unprecedentedly made central to many of the storylines (The L Word) and the series as a whole (Shot At Love). This analysis provides not only a detailed historical account of bisexual visibility but also discusses bisexuality thematically, highlighting commonalities across bisexual representations as well as shared themes between and with other identities. By examining key examples of bisexuality in popular culture from the first decade of the twenty- first century, my research investigates how representations of bisexuality are often portrayed in conversation with hegemonic understandings of gender and sexuality, specifically highlighting the mainstream "gay rights" movement's narrative of "normality" and "just like you" politics.
    [Show full text]
  • The L Word and Narrating Biographies
    The L Life: The L Word and Narrating Biographies Leah Barbara Caluzzi Submitted in total fulfillment of the requirements of the degree of Masters of Arts (Screen Studies) July 2015 Department of Culture and Communication, Faculty of Arts University of Melbourne Produced on archival quality paper 1 Abstract This thesis examines the reception of the television series The L Word by young adult lesbians in Melbourne. It shows the influence of the series as a media object that is significant to three aspects of these women’s lesbian lifestyle construction: coming out, lifestyle development, and integration into the lesbian community. This thesis argues that, as a media object, the series helps these lesbians narrate their own biographies as they negotiate their life transitions into adulthood. 2 Declaration This is to certify that: i. this thesis comprises only my original work towards the Masters ii. due acknowledgement has been made in the text to all other material used iii. this thesis is less than 40,000 words in length, exclusive of tables, maps, bibliographies and appendices Leah Barbara Caluzzi Date: 9-11-15 3 Acknowledgements I would like to take the opportunities to acknowledge the many people who have helped to make this project possible. Firstly I would like to thank my primary supervisor, Assoc. Professor Audrey Yue for her tireless guidance and direction across the length of this project. I would also like to thank my secondary supervisor Dr. Fran Martin for all her assistance and support. Thanks must also go to the School of Culture and Communication Research Support staff, whom I have called upon many times throughout this process.
    [Show full text]
  • Completeandleft
    MEN WOMEN 1. JA Jason Aldean=American singer=188,534=33 Julia Alexandratou=Model, singer and actress=129,945=69 Jin Akanishi=Singer-songwriter, actor, voice actor, Julie Anne+San+Jose=Filipino actress and radio host=31,926=197 singer=67,087=129 John Abraham=Film actor=118,346=54 Julie Andrews=Actress, singer, author=55,954=162 Jensen Ackles=American actor=453,578=10 Julie Adams=American actress=54,598=166 Jonas Armstrong=Irish, Actor=20,732=288 Jenny Agutter=British film and television actress=72,810=122 COMPLETEandLEFT Jessica Alba=actress=893,599=3 JA,Jack Anderson Jaimie Alexander=Actress=59,371=151 JA,James Agee June Allyson=Actress=28,006=290 JA,James Arness Jennifer Aniston=American actress=1,005,243=2 JA,Jane Austen Julia Ann=American pornographic actress=47,874=184 JA,Jean Arthur Judy Ann+Santos=Filipino, Actress=39,619=212 JA,Jennifer Aniston Jean Arthur=Actress=45,356=192 JA,Jessica Alba JA,Joan Van Ark Jane Asher=Actress, author=53,663=168 …….. JA,Joan of Arc José González JA,John Adams Janelle Monáe JA,John Amos Joseph Arthur JA,John Astin James Arthur JA,John James Audubon Jann Arden JA,John Quincy Adams Jessica Andrews JA,Jon Anderson John Anderson JA,Julie Andrews Jefferson Airplane JA,June Allyson Jane's Addiction Jacob ,Abbott ,Author ,Franconia Stories Jim ,Abbott ,Baseball ,One-handed MLB pitcher John ,Abbott ,Actor ,The Woman in White John ,Abbott ,Head of State ,Prime Minister of Canada, 1891-93 James ,Abdnor ,Politician ,US Senator from South Dakota, 1981-87 John ,Abizaid ,Military ,C-in-C, US Central Command, 2003-
    [Show full text]
  • Queer Affluence, Popular Media, and the Matter of the Openly Gay Spokesperson
    Queer Affluence, Popular Media, and the Matter of the Openly Gay Spokesperson A Dissertation presented to the Faculty of the Graduate School at the University of Missouri-Columbia In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy By Owen L. Pillion Dr. Michael J. Porter, Dissertation Supervisor August 2007 The undersigned, appointed by the dean of the Graduate School, have examined the dissertation entitled QUEER AFFLUENCE, POPULAR MEDIA, AND THE MATTER OF THE OPENLY GAY SPOKESPERSON Presented by Owen L. Pillion, a candidate for the degree of doctor of philosophy, and hereby certify that, in their opinion, it is worthy of acceptance. ________________________________________ Professor Michael J. Porter ________________________________________ Professor Elisa Glick ________________________________________ Professor Mitchell McKinney ________________________________________ Professor Jennifer Aubrey ________________________________________ Professor Andrew Hoberek ACKNOWLEDGEMENTS I would like to sincerely thank my advisor, Dr. Michael J. Porter for his advice, guidance, direction and endless enthusiasm for my project on queer affluence. His positive attitude, willingness to quickly turn around draft copies, and gentle nudges were invaluable in helping me complete this project. His support for my work has never wavered, and I am truly grateful that he has been my advisor throughout my doctoral program. I have learned to be a better writer and teacher because of his passion for media communication. I gratefully acknowledge all the members of my committee who have given their time to read this manuscript and who have also offered valuable advice during my graduate career at The University of Missouri. Elisa Glick has served as a major mentor and role model for me.
    [Show full text]
  • Homoparentalidade Em the L Word: Uma Análise Do Casal Bette E Tina
    UNIVERSIDADE FEDERAL DA BAHIA FACULDADE DE COMUNICAÇÃO PRISCILA DO ESPÍRITO SANTO LIMA HOMOPARENTALIDADE EM THE L WORD: UMA ANÁLISE DO CASAL BETTE E TINA Salvador 2009 PRISCILA DO ESPÍRITO SANTO LIMA HOMOPARENTALIDADE EM THE L WORD: UMA ANÁLISE DO CASAL BETTE E TINA Monografia apresentada ao Curso de graduação em Comunicação - Produção em Comunicação e Cultura, Faculdade de Comunicação da Universidade Federal da Bahia, como requisito parcial para obtenção do grau de Bacharel em Comunicação. Orientadora: Profª Drª Lindinalva Silva Oliveira Rubim Salvador 2009 Para as fãs de Bette e Tina AGRADECIMENTOS Agradeço a minha mãe pela paciência, carinho e amor. A Kiko, meu sobrinho, pelo companheirismo destes sete anos. A minha orientadora Linda Rubim pela disponibilidade, carinho e atenção dedicados a mim durante os últimos anos. Ao Grupo de Pesquisa Miradas Femininas, pelas discussões sempre muito produtivas e a interlocução estimulante a cada encontro. Ao Professor Drº Leandro Colling e ao Grupo de Pesquisa Cultura e Sexualidade pela grande contribuição e esclarecimento prestados na construção deste trabalho. A Professora Annamaria Palácios pelo estímulo dado desde o primeiro dia de aula. Ao Centro Acadêmico Vladimir Herzog pela grande importância que teve na minha formação acadêmica, em especial a André Araújo, grande companheiro de viagens. Ao Coletivo Kiu! pelas discussões, textos e encontros produtivos. Aos grandes amigos que estiveram comigo durante esta jornada: Layno Sampaio, Vítor Manoel, Ugo Mello, Wendell Wagner e Renata Freitas. Em especial a Mone, pelo grande apoio e incentivo, e por me presentear com a coleção completa desta série, meu principal material de pesquisa. RESUMO Este trabalho pretende analisar o modo de construção do casal homoparental do seriado norte americano The L Word , formado pelas personagens Bette Porter e Tina Kennard.
    [Show full text]
  • Liberals and Leftists: Where Are There Really No Hard Massey’S Vision Falls Short Choices for Liberals? G
    Political Sociology States, Power, and Societies Spring 2006 Volume 12, Number 2 BOOK SYMPOSIUM: Return of the “L” Word : A Liberal Vision for the New Century by Douglas S. Massey Liberals and Leftists: Where Are There Really No Hard Massey’s Vision Falls Short Choices for Liberals? G. William Domhoff Jennifer L. Hochschild University of California, Santa Cruz Harvard University It’s big news when one of the leading demographers I agree with almost all of the substantive arguments in American sociology, Douglas S. Massey, a past in Douglas Massey’s new book, Return of the L Word, president of both the American Sociological Associa- and I am impressed with the presentation. So initially I tion and the Population Association of America, sud- found it difficult to develop much of a response beyond denly decides to put aside his scholarly research and admiration and a hope that lots of Americans would read write a fighting liberal manifesto. It’s called Return of the book and take it to heart. Nevertheless, academics the “L” Word: A Liberal Vision for the New Century are trained (and perhaps congenitally inclined) to be and it’s meant to inject new ideas and passion into the critical even of works that they admire, so my efforts to Democratic Party. Mainstream academicians such as identify some concerns have borne fruit. In the end, I Massey usually don’t do things like that. worry that Massey’s prescriptions elide or confuse some Massey says he wrote Return of the “L” Word in critical trade-offs that the left must negotiate if it is to a white heat because he was “mad,” as in very angry, deserve to win the game of partisan politics.
    [Show full text]
  • FILM SENIOR MOMENT (Goff Productions) Director: Giorgio Serafini
    Pat McCorkle, CSA Jeffrey Dreisbach, Casting Partner Katja Zarolinski, CSA Kristen Kittel, Casting Assistant FILM SENIOR MOMENT (Goff Productions) Director: Giorgio Serafini. Starring: William Shatner, Christopher Lloyd, Jean Smart. THE MURPHYS (Independent Feature; Producer(s): The Murphy's LLC). Director: Kaitlan McGlaughlin. BERNARD & HUEY (In production. Independent Feature; Producer(s): Dan Mervish/Bernie Stein). Director: Dan Mervish. AFTER THE SUN FELL (Post Production. Independent feature; Producer(s): Joanna Bayless). Director: Tony Glazer. Starring: Lance Henriksen, Chasty Ballesteros, Danny Pudi. FAIR MARKET VALUE (Post Production. Feature ; Producer(s): Judy San Romain). Director: Kevin Arbouet. Starring: Jerry Adler, D.C. Anderson, Michael J. Arbouet. YEAR BY THE SEA (Festival circuit. Feature; Producer(s): Montabella Productions ). Director: Alexander Janko. Starring: Karen Allen, Yannick Bisson, Michael Cristofer. CHILD OF GRACE (Lifetime Network Feature; Producer(s): Empathy + Pictures/Sternamn Productions). Director: Ian McCrudden. Starring: Ted Lavine, Maggy Elizabeth Jones, Michael Hildreth. POLICE STATE (Independent Feature; Producer(s): Edwin Mejia\Vlad Yudin). Director: Kevin Arbouet. Starring: Sean Young, Seth Gilliam, Christina Brucato. MY MAN IS A LOSER (Lionsgate, Step One Entertainment; Producer(s): Step One of Many/Imprint). Director: Mike Young. Starring: John Stamos, Tika Sumpter, Michael Rapaport. PREMIUM RUSH (Columbia Pictures; Producer(s): Pariah). Director: David Koepp . Starring: Joseph Gordon-Levitt, Jamie Chung, Michael Shannon. JUNCTION (Movie Ranch; Producer(s): Choice Films). Director: David Koepp . Starring: Joseph Gordon-Levitt, Jamie Chung, Michael Shannon. GHOST TOWN* (Paramount Pictures; Producer(s): Dreamworks SKG). Director: David Koepp. Starring: Ricky Gervais, Tea Leoni, Greg Kinnear. WAR EAGLE (Empire Film; Producer(s): Downstream Productions). Director: Robert Milazzo. Starring: Brian Dennehy, Mary Kay Place, Mare Winningham.
    [Show full text]
  • Dec 8 10Pmet
    SERIES PREMIERE ET DEC 8 10PMPT INTRO Letter from Marja-Lewis Ryan I was 19 when The L Word® first aired, and Ilene Chaiken’s original series made me believe that my voice mattered. It profoundly influenced both my personal and professional life. For the first time ever, I saw myself reflected both on screen and behind the camera. The power of that really can’t be underplayed. It allowed me to dream up the career that I have now. I met Ilene a few years ago when we were both hired to write on a feature. A few months after that job ended, I sent her an email to congratulate her on The Handmaid’s Tale. She sent me an email back asking me if I wanted to pitch to create an L Word reboot. As you could imagine, I thought it was a joke. After a handful of surreal meetings, here we are, 10 years after Ilene left off with her original version, I get to pick up with my new one: THE L WORD: GENERATION Q. I describe my take as: queer, confident, aspirational, and joyful. I remind my collaborators that even as the world has changed, normalization is still radical. Our audience still needs to know that queer people are just people; they have jobs and they get coffee. I am beyond excited for the opportunity to usher in the next generation of diverse queer people. A generation that looks like Los Angeles does now. I couldn’t imagine a better time to make this show.
    [Show full text]
  • Decoding Dexter
    DECODING DEXTER: AN ANALYSIS OF AMERICA’S FAVORITE SERIAL KILLER by Erin Burns-Davies A Dissertation Submitted to the Faculty of the Dorothy F. Schmidt College of Arts and Letters In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Florida Atlantic University Boca Raton, FL August 2019 Copyright 2019 by Erin Burns-Davies ii ACKNOWLEDGEMENTS Dr. Jane Caputi: Words fail to adequately express my gratitude for your participation as chair of my dissertation committee. Your scholarship, research suggestions, constructive criticism, patience, and belief in me were essential in making this manuscript a reality. I continue to be in awe of your work in ways that have not only influenced my writing but also my teaching. Dr. Marcella Munson: Your notes on my dissertation and feedback during my defense were critical in making the manuscript more polished and effective. Thank you for your participation on my dissertation committee. Dr. Christopher Robé: Thank you for your constructive criticism, particularly your insight into the connection between the horror genre and queer identity. I appreciate how your ideas have challenged and enhanced my work on this dissertation. My mother, Susan Burns-Davies: In your battle against cancer these last few years, you have been a model of bravery amidst hardship. Thank you for your many sacrifices and for seeing me to the end of this journey. I look forward to celebrating not only this achievement but also your renewed health and many years ahead with you by my side. Dr. Shireen Lalla: My sister, this project would not have been possible without your support.
    [Show full text]
  • Dissertation Copy to Convert To
    ABSTRACT Title of Document: SPEAKING FROM A STRANGE PLACE: REFIGURING CONTEMPORARY BODIES OF JEWISH AMERICAN WOMEN'S ASSIMILATION Amy Karp, Doctor of Philosophy, 2012 Directed By: Associate Professor, Sheila Jelen, English Department Jewish American assimilation in the United States is considered a finished, and successful, project. This narrative of successful assimilation is used as a foundational example of enculturation in the United States in numerous bodies of study, including whiteness studies, cultural studies, and Jewish studies. The usage of Jewish American male experiences as the basis of this narrative creates the notion that Jewish American women achieved assimilation through their male counterparts. Though this metonymic usage of male experience for all Jewish American experience has largely gone uncontested in scholarship, a plethora of Jewish American women's writing has emerged contemporarily in which this metonymic usage of Jewish male experience for the entire story of Jewish American assimilation is being questioned. In these texts, visual and written, ghostly and strange happenings suggest that for some Jewish American women assimilation may be an ongoing project and that new tools of understanding are necessary to understand their stories, so different from the already sedimented male narratives of the Jewish American assimilation story. In this project, memoir (Prozac Nation by Elizabeth Wurtzel), fiction (Empathy by Sarah Schulman), and television drama (The L Word by Ilene Chaiken) created by Jewish American women writers is examined in order to re-imagine narratives of Jewish American assimilation. With the use of theory from a variety of bodies of study as well as Jewish American women's fiction produced before and after World War II, Jewish American assimilation is illuminated as an ongoing project in which some Jewish American women inhabit the identity of strangers.
    [Show full text]
  • Picture Editor
    LISA BINKLEY, cce picture editor “MOTIVE” - TELEVISION SERIES - SEASON 4 2015/16 cell 604-818-4007 CTV/NBC UNIVERSAL (ARRI ALEXA) Executive Producers: Daniel Cerone, Dennis Heaton, Louise Clark, Erin Haskett, EMAIL Ben Brafman, Rob Merilees, Rob Labelle & Lindsay Macadam Directors: Andy Mikita x 3, Mathias Herndl [email protected] CSA nomination 2016 for Best Picture Editing in Dramatic Program or Series IMDB “ADVENTURES IN BABYSITTING” - DISNEY MOVIE CHANNEL 2015 Executive Producer: Michelle Manning Producer: Shawn Williamson http://www.imdb.com/ Director: John Schultz name/nm0083028/ “MOTIVE” - TELEVISION SERIES - SEASON 3 2014/15 CTV/NBC UNIVERSAL (ARRI ALEXA) WEBSITE Executive Producers: Dennis Heaton, Daniel Cerone, Louise Clark , http://lisa-binkley.com/ Rob Merilees & Rob Labelle Directors: Sturla Gunnarsson x 3, Stefan Pleszczynski “BEHIND THE HIT - SAVED BY THE BELL” - MOW 2014 LIFETIME NETWORK (RED CAMERA) Executive Producers: Stephen Bulka, Harvey Kahn Director: Jason Lapeyre “WHEN SPARKS FLY” - MOW 2014 HALLMARK MOVIE CHANNEL (RED CAMERA) Executive Producers: Ted Bauman & Jim Head Director: Gary Yates “MOTIVE” - TELEVISION SERIES - SEASON 1&2 2012-2014 CTV/ABC/NBC UNIVERSAL (ARRI ALEXA) Executive Producers: James Thorpe, Dennis Heaton, Daniel Cerone, Louise Clark , Rob Merilees & Rob Labelle Directors: David Frazee, Charles Martin Smith x 2, Sturla Gunnarsson x 2, Mairzee Almas, T.J. Scott & Andy Mikita Leo Award for Best Picture Editing - Dramatic Series C.C.E. nomination for Best Editing in Television Series “WINDOW WONDERLAND” - MOW - 2013 HALLMARK MOVIE CHANNEL (RED EPIC) Executive Producers: Ira Pincus, Randy Cheveldave, Barbara Fisher & Jonathan Schwartz Director: Michael M. Scott *Leo Nomination: Best Picture Editing - Television Movie “AFTER ALL THESE YEARS” - MOW 2012 HALLMARK MOVIE CHANNEL (RED EPIC) Executive Producers: Jack Grossbart, Lisa Demberg, Harvey Kahn, Scott Smith Director: Scott Smith “HITCHED FOR THE HOLIDAYS” - MOW 2012 HALLMARK MOVIE CHANNEL (RED EPIC) Executive Producers: Michael M.
    [Show full text]
  • Generation Q. the L Word
    Upgrading The L Word: Generation Q. The L Word: Generation Q, as the reboot of The L Word, is a long running series about a group of lesbians and bisexuals in Los Angeles in the early 2000s. Both programmes are unique in their positioning of lesbian characters and have been well received by audiences and critics alike. These programmes present a range of characters and narratives, previously excluded from mainstream film and television, bringing a refreshing change from the destructive images typically presented before. We argue that the reboot, as Generation Q, has progressed, and now offers more meaningful representation of the broader lesbian and transgender communities, and discuss its relevance in the changing of gay representation. “Gay visibility has never really been an issue in the movies. Gays have always been visible. It is how they have been visible that has remained offensive for almost a century” (Russo 66). In 2004 The L Word broke new ground as the very first television series written and directed by predominantly queer women. This set it apart from previous representations of lesbians by Hollywood in clear ways because it portrayed a community rather than an isolated or lone lesbian character, that was extraneous to a cast of heterosexuals (Moore and Schilt). The series brought change, and where Hollywood was more often “reluctant to openly and non-stereotypically engage with gay subjects and gay characters” (Baker 41), the L Word offered an alternative to the norm in media representation. “The L Word’s significance lies in its very existence” according to Chambers (83), and this article serves to consider this significance in conjunction with its 2019 re-boot, the L Word: Generation Q, to ascertain if the enhanced visibility and gay representation, influences the system of representation that has predominantly been excluding and misrepresentative of gay life.
    [Show full text]