Guide to the Veronica Mars Production Files PA Mss 143
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Transgender Representation on American Narrative Television from 2004-2014
TRANSJACKING TELEVISION: TRANSGENDER REPRESENTATION ON AMERICAN NARRATIVE TELEVISION FROM 2004-2014 A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY by Kelly K. Ryan May 2021 Examining Committee Members: Jan Fernback, Advisory Chair, Media and Communication Nancy Morris, Media and Communication Fabienne Darling-Wolf, Media and Communication Ron Becker, External Member, Miami University ABSTRACT This study considers the case of representation of transgender people and issues on American fictional television from 2004 to 2014, a period which represents a steady surge in transgender television characters relative to what came before, and prefigures a more recent burgeoning of transgender characters since 2014. The study thus positions the period of analysis as an historical period in the changing representation of transgender characters. A discourse analysis is employed that not only assesses the way that transgender characters have been represented, but contextualizes American fictional television depictions of transgender people within the broader sociopolitical landscape in which those depictions have emerged and which they likely inform. Television representations and the social milieu in which they are situated are considered as parallel, mutually informing discourses, including the ways in which those representations have been engaged discursively through reviews, news coverage and, in some cases, blogs. ii To Desmond, Oonagh and Eamonn For everything. And to my mother, Elaine Keisling, Who would have read the whole thing. iii ACKNOWLEDGMENTS Throughout the research and writing of this dissertation, I have received a great deal of support and assistance, and therefore offer many thanks. To my Dissertation Chair, Jan Fernback, whose feedback on my writing and continued support and encouragement were invaluable to the completion of this project. -
Multicultural Social Cohesion in Veronica Mars
University of Wollongong Research Online Faculty of Law, Humanities and the Arts - Papers Faculty of Arts, Social Sciences & Humanities 2007 Over my dead body: Multicultural social cohesion in Veronica Mars Debra Dudek 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 Dudek, Debra, "Over my dead body: Multicultural social cohesion in Veronica Mars" (2007). Faculty of Law, Humanities and the Arts - Papers. 1392. https://ro.uow.edu.au/lhapapers/1392 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Over my dead body: Multicultural social cohesion in Veronica Mars Abstract This paper argues that Veronica Mars foregrounds the notion that multiculturalism is a "field of accumulating whiteness," to borrow Ghassan Hage's phrase, and that multicultural cohesion exists primarily when Brown and Black bodies gain cultural and symbolic capital by accumulating Whiteness. Keywords mars, over, cohesion, veronica, social, body, multicultural, my, dead Disciplines Arts and Humanities | Law Publication Details Dudek, D. (2007). Over my dead body: Multicultural social cohesion in Veronica Mars. The Looking Glass: new perspectives in children's literature, 11 (1). This journal article is available at Research Online: https://ro.uow.edu.au/lhapapers/1392 Over My Dead Body: Multicultural Social Cohesion in Veronica Mars | D... http://www.lib.latrobe.edu.au/ojs/index.php/tlg/article/view/46/23 The Looking Glass : New Perspectives on Children's Literature, Vol 11, No 1 (2007) HOME ABOUT LOG IN REGISTER SEARCH CURRENT ARCHIVES ANNOUNCEMENTS Home > Vol 11, No 1 (2007) > Dudek Font Size: Over My Dead Body: Multicultural Social Cohesion in Veronica Mars Debra Dudek Debra Dudek received her PhD in literature from the University of Saskatchewan, Canada. -
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 Community-Centered Cult Television Heroine, 1995-2007
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Dissertations, Theses, and Student Research: Department of English English, Department of 2010 "Just a Girl": The Community-Centered Cult Television Heroine, 1995-2007 Tamy Burnett University of Nebraska at Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/englishdiss Part of the Feminist, Gender, and Sexuality Studies Commons, Literature in English, North America Commons, and the Visual Studies Commons Burnett, Tamy, ""Just a Girl": The Community-Centered Cult Television Heroine, 1995-2007" (2010). Dissertations, Theses, and Student Research: Department of English. 27. https://digitalcommons.unl.edu/englishdiss/27 This Article is brought to you for free and open access by the English, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Dissertations, Theses, and Student Research: Department of English by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. “JUST A GIRL”: THE COMMUNITY-CENTERED CULT TELEVISION HEROINE, 1995-2007 by Tamy Burnett A DISSERTATION Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Doctor of Philosophy Major: English (Specialization: Women‟s and Gender Studies) Under the Supervision of Professor Kwakiutl L. Dreher Lincoln, Nebraska May, 2010 “JUST A GIRL”: THE COMMUNITY-CENTERED CULT TELEVISION HEROINE, 1995-2007 Tamy Burnett, Ph.D. University of Nebraska, 2010 Adviser: Kwakiutl L. Dreher Found in the most recent group of cult heroines on television, community- centered cult heroines share two key characteristics. The first is their youth and the related coming-of-age narratives that result. -
Reminder List of Productions Eligible for the 90Th Academy Awards Alien
REMINDER LIST OF PRODUCTIONS ELIGIBLE FOR THE 90TH ACADEMY AWARDS ALIEN: COVENANT Actors: Michael Fassbender. Billy Crudup. Danny McBride. Demian Bichir. Jussie Smollett. Nathaniel Dean. Alexander England. Benjamin Rigby. Uli Latukefu. Goran D. Kleut. Actresses: Katherine Waterston. Carmen Ejogo. Callie Hernandez. Amy Seimetz. Tess Haubrich. Lorelei King. ALL I SEE IS YOU Actors: Jason Clarke. Wes Chatham. Danny Huston. Actresses: Blake Lively. Ahna O'Reilly. Yvonne Strahovski. ALL THE MONEY IN THE WORLD Actors: Christopher Plummer. Mark Wahlberg. Romain Duris. Timothy Hutton. Charlie Plummer. Charlie Shotwell. Andrew Buchan. Marco Leonardi. Giuseppe Bonifati. Nicolas Vaporidis. Actresses: Michelle Williams. ALL THESE SLEEPLESS NIGHTS AMERICAN ASSASSIN Actors: Dylan O'Brien. Michael Keaton. David Suchet. Navid Negahban. Scott Adkins. Taylor Kitsch. Actresses: Sanaa Lathan. Shiva Negar. AMERICAN MADE Actors: Tom Cruise. Domhnall Gleeson. Actresses: Sarah Wright. AND THE WINNER ISN'T ANNABELLE: CREATION Actors: Anthony LaPaglia. Brad Greenquist. Mark Bramhall. Joseph Bishara. Adam Bartley. Brian Howe. Ward Horton. Fred Tatasciore. Actresses: Stephanie Sigman. Talitha Bateman. Lulu Wilson. Miranda Otto. Grace Fulton. Philippa Coulthard. Samara Lee. Tayler Buck. Lou Lou Safran. Alicia Vela-Bailey. ARCHITECTS OF DENIAL ATOMIC BLONDE Actors: James McAvoy. John Goodman. Til Schweiger. Eddie Marsan. Toby Jones. Actresses: Charlize Theron. Sofia Boutella. 90th Academy Awards Page 1 of 34 AZIMUTH Actors: Sammy Sheik. Yiftach Klein. Actresses: Naama Preis. Samar Qupty. BPM (BEATS PER MINUTE) Actors: 1DKXHO 3«UH] %LVFD\DUW $UQDXG 9DORLV $QWRLQH 5HLQDUW] )«OL[ 0DULWDXG 0«GKL 7RXU« Actresses: $GªOH +DHQHO THE B-SIDE: ELSA DORFMAN'S PORTRAIT PHOTOGRAPHY BABY DRIVER Actors: Ansel Elgort. Kevin Spacey. Jon Bernthal. Jon Hamm. Jamie Foxx. -
Detectives with Pimples: How Teen Noir Is Crossing the Frontiers of the Traditional Noir Films1
Detectives with pimples: How teen noir is crossing the frontiers of the traditional noir films1 João de Mancelos (Universidade da Beira Interior) Palavras-chave: Teen noir, Veronica Mars, cinema noir, reinvenção, feminismo Keywords: Teen noir, Veronica Mars, noir cinema, reinvention, feminism 1. “If you’re like me, you just keep chasing the storm” In the last ten years, films and TV series such as Heathers (1999), Donnie Darko (2001), Brick (2005) or Veronica Mars (2004-2007) have become increasingly popular and captivated cult audiences, both in the United States and in Europe, while arousing the curiosity of critics. These productions present characters, plots, motives and a visual aesthetic that resemble the noir films created between 1941, when The Maltese Falcon premiered, and 1958, when Touch of Evil was released. The new films and series retain, for instances, characters like the femme fatale, who drags men to a dreadful destiny; the good-bad girl, who does not hesitate in resorting to dubious methods in order to achieve morally correct objectives; and the lonely detective, now a troubled adolescent — as if Sam Spade had gone back to High School. In the first decade of our century, critics coined the expression teen noir to define this new genre or, in my opinion, subgenre, since it retains numerous traits of the classic film noir, especially in its contents, thus not creating a significant rupture. In this article, I intend to a) examine the common elements between teen noir series and classic noir films; b) analyze how this new production reinvents or subverts the characteristics of the old genre, generating a sense of novelty; c) detect some of the numerous intertextual references present in Veronica Mars, which may lead young viewers to investigate other series, movies or books. -
GOSSIP GIRL Reboot Launches Official Trailer
The iconic series returns: “GOSSIP GIRL” reboot launches official trailer MIAMI, FL., June 10, 2021 – The iconic series returns! HBO Max has just launched the official trailer for the GOSSIP GIRL reboot, a Max Original, that premieres exclusively on the platform on July 8. Click here to watch the trailer! Eight years after the original website went dark, Gossip Girl is back as your number one source into the scandalous lives of New York’s elite, and she’s making up for lost time. A new generation of Upper East Siders will now be targeted, bringing to light their scandals, angst and gossip in the new era of social media. The cast includes performances by Whitney Peak, Emily Alyn Lind, Evan Mock, Jordan Alexander, Thomas Doherty, Eli Brown, Zión Moreno, Savannah Smith and Tavi Gevinson. GOSSIP GIRL is narrated by the original voice, Kristen Bell. GOSSIP GIRL is produced by Fake Empire and Alloy Entertainment in association with Warner Bros. Television and CBS Studios. The series is written, executive produced and developed by Joshua Safran of Random Acts. Executive producers also include Josh Schwartz and Stephanie Savage of Fake Empire, and Leslie Morgenstein and Gina Girolamo of Alloy Entertainment. Lis Rowinski of Fake Empire serves as co-executive producer. Karena Evans directs two episodes and original costume designer Eric Daman rejoins the series.All complete seasons and episodes of the original GOSSIP GIRL will also be available on HBO Max, when it launches on June 29. Posted on 2021/06/10 on hbomaxlapress.com. -
Date Production Name Venue / Production Designer / Stylist Design
Date ProductionVenue Name / Production Designer / Stylist Design Talent 2015 Opera Komachi atOpera Sekidrera America Camilla Huey Designer 3 dresses, 3 wigs 2014 Opera Concert Alice Tully Hall Opera Camilla Huey Designer 1 Gown Rebecca Ringle 2014 Opera Concert Carnegie Hall Opera Camilla Huey Designer 1 Gown Rebecca Ringle 2014 Opera Concert Carnegie Hall Opera Camilla Huey Designer 1 Gown Sara Jakubiak 2013 Opera Concert Bard University Opera Camilla Huey Designer 1 Gown Rebecca Ringle 1996 Opera Carmen Metropolitan Opera Leather Costumes 1996 Opera Midsummer'sMetropolitan Night's Dream Opera Leslie Weston / Izquierdo Human Pillar Set Piece 1997 Opera Samson & MetropolitanDelilah Opera Leslie Weston / Izquierdo Dyeing Costumes 1997 Opera Cerentola Metropolitan Opera Leslie Weston / Izquierdo Mechanical Wings 1997 Opera Madame ButterflyHouston Grand Opera Anita Yavich / Izquierdo Kimonos Hand Painted 1997 Opera Lillith Tisch Center for the Arts OperaCatherine Heraty / Izquierdo Costumes 1996 Opera Bartered BrideMetropolitan Opera Sylvia Nolan / Izquierdo Dancing Couple + Muscle Shirt 1996 Opera Four SaintsMetropolitan In Three Acts Opera Francesco Clemente/ Izquierdo FC Asssitant 1996 Opera Atilla New York City Opera Hal George / Izquierdo Refurbishment 1995 Opera Four SaintsHouston In Three Grand Acts Opera Francesco Clemente / Izquierdo FC Assistant 1994 Opera Requiem VariationsOpera Omaha Izquierdo 1994 Opera Countess MaritzaSanta Fe Opera Allison Chitty / Izquierdo 1994 Opera Street SceneHouston Grand Opera Francesca Zambello/ Izquierdo -
Amanda Seyfried
Find Movies, TV shows, Celebrities and more... All | Help IMDb Movies, TV Celebs, Events News & & Showtimes & Photos Community Watchlist Login Amanda Seyfried Top 500 Quick Links Actress | Soundtrack | Producer Biography Photo Gallery Awards Filmography (by Job) Amanda Seyfried was born and raised in Allentown, Message Boards Trailers and Videos Pennsylvania, to Ann (Sander), an occupational therapist, and Jack Seyfried, a pharmacist. She is of German, and some Explore More English and Scots-Irish, ancestry. She began modeling when she was 11, and acted in high school productions as well as taking singing lessons. She landed a recurring role in the ... IMDb Picks: November See full bio » Born: Amanda Michelle Seyfried December 3, 1985 in Allentown, Pennsylvania, USA More at IMDbPro » Contact Info: View agent, publicist and legal Represent Amanda Seyfried? Add or change photos The Night Before Our IMDb Picks section spotlights the 377 photos | 103 videos | 8238 news articles » movies and TV shows we're excited about this November, and we hope you'll find some favorites inside. 7 wins & 15 nominations. See more awards » Visit the IMDb Picks section » Known For Share this page: Like 9,838 people like this. Sign Up to see what your friends like. Related News Film Review: ‘Love the Coopers’ 4 hours ago | Variety - Film News Les Misérables (2012) Mamma Mia! (2008) Dear John (2010) Red Riding Hood (2011) What Angelina Jolie's New Movie Can Tell Us About the Fate of Female Directors in Hollywood 5 hours ago | E! Online Filmography Show all | -
GSC Films: S-Z
GSC Films: S-Z Saboteur 1942 Alfred Hitchcock 3.0 Robert Cummings, Patricia Lane as not so charismatic love interest, Otto Kruger as rather dull villain (although something of prefigure of James Mason’s very suave villain in ‘NNW’), Norman Lloyd who makes impression as rather melancholy saboteur, especially when he is hanging by his sleeve in Statue of Liberty sequence. One of lesser Hitchcock products, done on loan out from Selznick for Universal. Suffers from lackluster cast (Cummings does not have acting weight to make us care for his character or to make us believe that he is going to all that trouble to find the real saboteur), and an often inconsistent story line that provides opportunity for interesting set pieces – the circus freaks, the high society fund-raising dance; and of course the final famous Statue of Liberty sequence (vertigo impression with the two characters perched high on the finger of the statue, the suspense generated by the slow tearing of the sleeve seam, and the scary fall when the sleeve tears off – Lloyd rotating slowly and screaming as he recedes from Cummings’ view). Many scenes are obviously done on the cheap – anything with the trucks, the home of Kruger, riding a taxi through New York. Some of the scenes are very flat – the kindly blind hermit (riff on the hermit in ‘Frankenstein?’), Kruger’s affection for his grandchild around the swimming pool in his Highway 395 ranch home, the meeting with the bad guys in the Soda City scene next to Hoover Dam. The encounter with the circus freaks (Siamese twins who don’t get along, the bearded lady whose beard is in curlers, the militaristic midget who wants to turn the couple in, etc.) is amusing and piquant (perhaps the scene was written by Dorothy Parker?), but it doesn’t seem to relate to anything. -
Investigating Veronica Mars the Noir and Teen Clash in Neptune, California
Investigating Veronica Mars The Noir and Teen Clash in Neptune, California by Kim Johansen Østby Master’s Thesis in Media Studies Department of Media and Communication University of Oslo Spring 2010 “[…] why is Veronica Mars so good? It bears little resemblance to life as I know it, but I can't take my eyes off the damn thing.” (Stephen King, Entertainment Weekly, 01/02-2007) I Abstract What happens when you combine the long tradition of film noir and the contemporary television teen drama? Through genre analysis, this thesis explores how the television show Veronica Mars (2004-2007) mixes noir and teen drama and how this creates a dark vision of society and teen life. Through four chapters I investigate key points of the show, such as the narration and aesthetics, the representation of the noir universe through the show’s depiction of social class inequalities and an incapacitated criminal justice system, the show’s exploration of teen drama themes and how this is affected by noir and finally, an analysis of the main characters and how they relate to this hybrid universe. Noir and teen elements pulsate throughout the entire show. Together they create a tense, paranoid and mysterious atmosphere and allow the show to repeatedly explore dark themes and plots that do not commonly appear in teen dramas. The teen private investigator protagonist Veronica must tackle mysteries ranging everywhere from disappearances, blackmail, scams and theft, to situations where she must deceive the FBI, confront and battle a serial rapist and solve the mass murder of her fellow classmates, all while making her way through high school and college. -
Mulheres Fatais, Detetives Solitários E Criminosos Loucos1 João De Mancelos Quatro Capítulos Do Livro
Mulheres fatais, detetives solitários e criminosos loucos1 João de Mancelos Quatro capítulos do livro 1 Mancelos, João de. Mulheres fatais, detetives solitários e criminosos loucos: Estudos sobre cinema. Lisboa: Colibri, 2015. Matar sem castigo: Por que têm êxito os criminosos e falham os detetives nos filmes neo-noir? “Mother of Mercy, is this the end of Rico?” — LeRoy, Mervyn. Little Caesar (1930). 1. O que há de novo no neo-noir? Carros velozes, revólveres fumegantes e cenas de crime salpicadas de sangue… Histórias onde o assassinato, o sexo e a traição se confundem… Detetives duros e mulheres fatais, belas de morrer — e tal pode acontecer, porque levam qualquer um à desgraça… Becos escuros e bares manhosos onde se pode vender a alma ou mandar matar um inimigo, através de um assassino a soldo… Meio século depois, uma aura ainda irradia dos filmes noir, que se tornaram num género de culto e marcaram uma era. Inicialmente, o rótulo noir apenas se aplicava ao ciclo de filmes feitos entre 1941 e 1958, em Hollywood, principiando com The Maltese Falcon (1941), de John Huston, e terminando com Touch of Evil (1958), de Orson Welles. Contudo, na atualidade, considera-se que este período pode ser dilatado, de modo a incluir Underworld (1927), como a primeira película noir, e Odds Against Tomorrow (1959), de Robert Wise, ou Taxi Driver (1976), de Martin Scorcese, como o último (Hirsch 3). De meados da década de setenta até hoje, principiou uma nova fase, conhecida por neo- noir ou, na terminologia de outros especialistas, contemporâneo, pós-clássico ou moderno noir.