Sandspur, Vol 120, No 14, January 30, 2014
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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. -
The Representation of Latinas in Orange Is the New Black a Thesis
The Representation of Latinas in Orange Is the New Black A Thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts at George Mason University By Sarah Weatherford Millette Bachelor of Arts Furman University, 2011 Director: Ricardo F. Vivancos Pérez, Associate Professor Department of Modern and Classical Languages Spring Semester 2015 George Mason University Fairfax, VA ACKNOWLEDGEMENTS I would like to thank first and foremost my advisor and mentor, Dr. Ricardo F. Vivancos Pérez, who has believed in me, encouraged me, and never stopped challenging me. I would also like to thank Dr. Lisa Rabin and Dr. Michele Back for their guidance and their time. Thank you to my family and friends for understanding my less-than-social life these past few months. Finally, I would like to thank my new husband, Nick, for accepting the fact that this has been my first love and priority in our first year of marriage. ii TABLE OF CONTENTS Page Abstract................................................................................................................................ iv Introduction........................................................................................................................... 1 Thesis Overview ................................................................................................................... 9 Chapter One - Gender, Sexuality, and Interethnic Relationships in the Fictional Prison .. 12 Women in the US Prison System................................................................................. -
ORANGE IS the NEW BLACK Season 1 Cast List SERIES
ORANGE IS THE NEW BLACK Season 1 Cast List SERIES REGULARS PIPER – TAYLOR SCHILLING LARRY BLOOM – JASON BIGGS MISS CLAUDETTE PELAGE – MICHELLE HURST GALINA “RED” REZNIKOV – KATE MULGREW ALEX VAUSE – LAURA PREPON SAM HEALY – MICHAEL HARNEY RECURRING CAST NICKY NICHOLS – NATASHA LYONNE (Episodes 1 – 13) PORNSTACHE MENDEZ – PABLO SCHREIBER (Episodes 1 – 13) DAYANARA DIAZ – DASCHA POLANCO (Episodes 1 – 13) JOHN BENNETT – MATT MCGORRY (Episodes 1, 2, 3, 4, 5, 6, 7, 9, 10, 11, 12, 13) LORNA MORELLO – YAEL MORELLO (Episodes 1, 2, 3, 4, 5, 6, 7, 8, 10, 11, 12, 13) BIG BOO – LEA DELARIA (Episodes 1, 2, 3, 4, 5, 6, 7, 9, 10, 11, 12, 13) TASHA “TAYSTEE” JEFFERSON – DANIELLE BROOKS (Episodes 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 12, 13) JOSEPH “JOE” CAPUTO – NICK SANDOW (Episodes 1, 2, 4, 6, 7, 8, 9, 10, 11, 12, 13) YOGA JONES – CONSTANCE SHULMAN (Episodes 1, 2, 4, 5, 6, 7, 9, 10, 11, 12, 13) GLORIA MENDOZA – SELENIS LEYVA (Episodes 1, 2, 4, 5, 6, 7, 8, 9, 11, 12, 13) S. O’NEILL – JOEL MARSH GARLAND (Episodes 1, 2, 3, 4, 5, 6, 7, 9, 10, 12, 13) CRAZY EYES – UZO ADUBA (Episodes 2, 3, 4, 5, 6, 8, 9, 10, 11, 12, 13) POUSSEY – SAMIRA WILEY (Episodes 2, 3, 4, 5, 6, 7, 8, 9, 10, 12, 13) POLLY HARPER – MARIA DIZZIA (Episodes 1, 2, 3, 5, 6, 7, 8, 9, 10, 12) JANAE WATSON – VICKY JEUDY (Episodes 1, 2, 3, 4, 7, 9, 10, 11, 12, 13) WANDA BELL – CATHERINE CURTIN (Episodes 1, 2, 3, 5, 6, 7, 9, 10, 11, 13) LEANNE TAYLOR – EMMA MYLES (Episodes 2, 3, 5, 6, 7, 9, 10, 11, 12, 13) NORMA – ANNIE GOLDEN (Episodes 2, 3, 5, 6, 7, 8, 9, 11, 12, 13) ALEIDA DIAZ – ELIZABETH RODRIGUEZ -
The Ruderman White Paper on Employment of Actors With
THE RUDERMAN WHITE PAPER ON EMPLOYMENT OF ACTORS WITH DISABILIITES IN TELEVISION Danny Woodburn Kristina Kopić July 2016 White Paper – Disability Television – Contents TABLE OF CONTENTS: Executive Summary _______________________________________________________________________________ 1 Sections: 1. Introduction _______________________________________________________________________________ 3 2. Evidence Overview _______________________________________________________________________ 7 3. Evidence Analysis ________________________________________________________________________ 19 4. Anecdotal Evidence by Danny Woodburn _____________________________________________ 27 5. Best Practices ____________________________________________________________________________ 35 THE RUDERMAN FAMILY FOUNDATION One of our goals at the Ruderman Family Foundation is to change the public’s awareness of people with disabilities. More specifically we make the argument that full inclusion of people with disabilities is not a matter of charity, but of civil rights. We researched this White Paper in order to further the awareness around this civil rights movement. We believe that the results we found will meaningfully contribute to the conversation of diversity in entertainment as a civil rights issue that needs to be addressed more systematically by the media and entertainment industry. Our Mission The Ruderman Family Foundation believes that inclusion and understanding of all people is essential to a fair and flourishing community. Guided by our Jewish values, -
White Is the New Black: Entretejiendo Ejes De Discriminación En 'Orange Is the New Black'
Recibido: 2016_03_17 | Aceptado: 2016_04_15 215 WHITE IS THE NEW BLACK: ENTRETEJIENDO EJES DE DISCRIMINACIÓN EN ‘ORANGE IS THE NEW BLACK’ WHITE IS THE NEW BLACK: INTERWEAVING AXES OF DISCRIMINATION IN ‘ORANGE IS THE NEW BLACK’ DELICIA AGUADO PELÁEZ Y PATRICIA MARTÍNEZ GARCÍA [email protected] | [email protected] Universidad del País Vasco (UPV/EHU) Resumen: Desde un enfoque feminista clásico, Orange is the New Black (Netflix, 2013-) –a partir de aquí, OITNB– se considera una serie de televisión transgresora de la conocida como Tercera Edad Dorada de la Televisión. Un reconocimiento que se ha ganado a través de una representación diversa y compleja de las realida- des de las mujeres, con una gran variedad de cuerpos, etnias y sexualidades. No obstante, la revisión de esta producción desde un enfoque interseccional permite problematizar estos resultados positivos, revelándose la raza como un eje de este- reotipación. Así, a partir de un análisis de contenido se pretende examinar cómo se representan las tres grandes familias étnicas de OITNB en su interacción con una serie de ejes de discriminación señalados desde la interseccionalidad –clase social, diversidad funcional, edad, género, orientación sexual y religión– y obser- var cómo se reproducen patrones de dominación y opresión. En definitiva, la pro- ducción de Netflix privilegia las narrativas de las mujeres blancas, por lo que recae en patrones de discriminación y normatividad simbólica respecto a otras experien- cias raciales. Palabras clave: ejes de discriminación; género; interseccionalidad; Orange is the New Black; raza; series de televisión. Abstract: From a classical feminist view, Orange is the New Black (Netflix, 2013- ) –OITNB– is considered an innovative point of view on gender in the so-called Television's Third Golden Age. -
Running Head: REPRESENTATIONS in ORANGE IS the NEW BLACK 1
Running head: REPRESENTATIONS IN ORANGE IS THE NEW BLACK 1 Representations in Orange Is the New Black Student's Name Language of Television Montclair State University April 27, 2017 REPRESENTATIONS IN ORANGE IS THE NEW BLACK 2 Abstract Representations are typically defined as something or someone that is being portrayed in place of something else. When discussing representations in the realm of television, it is outlined as the way that a group, community, topic, or idea is depicted from an ideology set forth by society. The critically acclaimed Netflix show, Orange Is the New Black, authentically represents aspects of race, gender and sexuality in its narrative and diverse cast of characters. These three components of the show are examples of intersectionality because they are social constructs that create the overlying theme of oppression and discrimination that the characters face in the show. “Enlightened Racism” by Sut Jhally and Justin Lewis discusses the negative stereotypes that African-Americans face by the way they are depicted on television. “Television, Representation and Gender” by Julie D’Acci explores how representations in television shape how audiences view society’s perception of gender and sexuality. Both essays apply to how Orange Is the New Black integrates the three topics into their narrative and character storylines. Ultimately, this essay highlights how Orange Is the New Black realistically depicts race, gender and sexuality and how it commendably gives voice to those who are misrepresented in television and media. Keywords: Orange Is the New Black, representations, television representations, portrayals, character portrayals, race, gender, sexuality, shows, television, characters REPRESENTATIONS IN ORANGE IS THE NEW BLACK 3 Representations in Orange is the New Black In the world of television, characters are not only important to the narration of the story, but are also important to add structure and depth to the world that is created. -
A Critical Analysis of Violence As a Symptom of Mental Illness In
A Critical Analysis of Violence as a Symptom of Mental Illness in Orange is the New Black ASHLEY FARRELL In a review of the first season of Orange is the New Black for the Washington Post, poet and attorney Seth Abramson suggests that the series offers “the most realistic portrayal of convicts the small screen has ever seen” and that it “fosters a sort of empathy we don’t get in police procedurals.” In “A Critical Analysis of Violence as a Symptom of Mental Illness in Orange is the New Black,” Ashley Farrell takes exception to this view, arguing that any celebration of OITNB’s “realism” should be tempered by the show’s uncritical representation (and perpetuation) of mental health stigmas. By drawing attention to the various ways in which the series consistently conflates violent behavior and mental illness, Farrell raises important questions about the kinds of “empathy” that OITNB actually makes possible. —Dr. Fontaine he Netflix Original television series “Orange is the New Black” has dominated the Western World T since it’s release in 2013. The show is based on Piper Kerman’s memoir, Orange Is the New Black: My Year in a Women's Prison, and draws attention to the mistreatment of prison inmates, lack of health care in the prison, sexual harassment and assault, rape, racism, violence, and resulting mental health problems. In the media, the series has received positive reviews for its representations of social issues. For example, it is described as accurately portraying victims of social injustices; demonstrating the intersections of race, ethnicity, and sexuality with mental state; educating viewers on how to identify sexual assault; Symptoms of Mental Illness in OITNB and presenting realities of addiction relapses. -
Television Academy
Television Academy 2014 Primetime Emmy Awards Ballot Outstanding Guest Actor In A Comedy Series For a performer who appears within the current eligibility year with guest star billing. NOTE: VOTE FOR NO MORE THAN SIX achievements in this category that you have seen and feel are worthy of nomination. (More than six votes in this category will void all votes in this category.) Photos, color or black & white, were optional. 001 Jason Alexander as Stanford Kirstie Maddie's Agent Outraged that her co-star is getting jobs, Maddie vows to fire her agent (Jason Alexander). When cowardice stops her from lowering the hammer, she seduces him. Bolstered by her "courage," Arlo, Frank and Thelma face their fears. 002 Anthony Anderson as Sweet Brown Taylor The Soul Man Revelations Boyce slips back into his old habits when he returns to the studio to record a new song. Lolli and Barton step in to keep things running smoothly at the church. Stamps and Kim are conflicted about revealing their relationship. 003 Eric Andre as Deke 2 Broke Girls And The Dumpster Sex When Deke takes Max to his place after a great first date, his “home” is nothing like she expected. Meanwhile, Caroline feels empowered – then scared for her life – after having a shady car towed from the front of their apartment building. 1 Television Academy 2014 Primetime Emmy Awards Ballot Outstanding Guest Actor In A Comedy Series For a performer who appears within the current eligibility year with guest star billing. NOTE: VOTE FOR NO MORE THAN SIX achievements in this category that you have seen and feel are worthy of nomination. -
ORANGE 1001 9-20-12 YELLOW PAGES Copy.Fdx
ORANGE IS THE NEW BLACK PILOT Ep. #1001 Written by Jenji Kohan Directed by Michael Trim Based on the Memoir by Piper Kerman Production Draft - 09/07/12 Blue (full) - 09/12/12 Pink (pages) – 09/14/12 Yellow (pages) – 09/20/12 Green (pages) – 09/24/12 (Pages Affected: Cast, 38, 46) Copyright © 2012 Lions Gate Television Inc. ALL RIGHTS RESERVED. No portion of this script may be performed, published, sold or distributed by any means, or quoted or published in any medium, including any website, without prior written consent. Disposal of this script copy does not alter any of the restrictions set forth above. ORANGE IS THE NEW BLACK CAST EPISODE #1001 GREEN 09/24/12 PIPER CHAPMAN TAYLOR SCHILLING LARRY BLOOM JASON BIGGS MISS CLAUDETTE PELAGE MICHELLE HURST GALINA “RED” REZNIKOV NICKY NICHOLS NATASHA LYONNE ALEX VAUSE LAURA PREPON SAM HEALY MICHAEL HARNEY POLLY HARPER MARIA DIZZIA GEORGE “PORNSTACHE” MENDEZ PABLO SCHREIBER JOSEPH “JOE” CAPUTO NICK SANDOW JOHN BENNETT MATT McGORRY LORNA MORELLO YAEL STONE ERICA “YOGA” JONES CONSTANCE SHULMAN DAYANARA DIAZ DASCHA POLANCO ALEIDA DIAZ ELIZABETH RODRIGUEZ JANAE WATSON VICKY JEUDY CARRIE “BIG BOO” BLACK LEA DELARIA CAROL CHAPMAN DEBORAH RUSH CAL CHAPMAN MICHAEL CHERNUS HOWARD BLOOM TODD SUSMAN TASHA “TAYSTEE” JEFFERSON DANIELLE BROOKS SISTER INGALLS BETH FOWLER SOPHIA BURSET LAVERNE COX PETE HARPER NICK STEVENSON BLANCA FLORES LAURA GOMEZ AMY KANTER-BLOOM KATHRYN KATES CELESTE CHAPMAN MARY LOORAM GINA MURPHY ABIGAIL SAVAGE BILL CHAPMAN BILL HOAG ANITA DeMARCO LIN TUCCI MISS ROSA CISNEROS BARBARA ROSENBLAT WANDA BELL CATHERINE CURTIN GLORIA MENDOZA SELENIS LEVYA ELIQUA MAXWELL LOLITA FOSTER J. -
Orange Is the New Black -Sarjassa
42 sLÄHIKUVA s3/2016 Outi Hakola /UTI(AKOLA &4 DOSENTTI !LUE JAKULTTUURINTUTKIMUS (ELSINGINYLIOPISTO VALLATTOMAT NAISET Naisen muuttuva paikka Orange Is the New Black -sarjassa Naisvankilasta kertovaa yhdysvaltalaissarja Orange Is the New Blackia on yhtäältä kiitelty monipuolisista henkilöhahmoista ja toisaalta kritisoitu rodulli- suuden normatiivisuudesta niin tuotannon kuin vastaanotonkin puolella. Kes- kustelu on usein tulkinnut henkilöhahmoja staatisina representaatioina, jolloin sarjan kerronnassa tapahtuvat liukumat ovat jääneet vähemmälle huomiolle. Sarjallisuus kuitenkin määritelee jatkuvasti uudelleen, mikä on soveliasta käytöstä naiselle ja millaisia mahdollisuuksia naisilla on, tai ei ole, rikkoa heille asetetuja sukupuolituneita ja rodullistetuja rooleja ja rajoja. Tarkastelemalla sukupuolikuvausten prosessimaisuuta analysoin naiseuden normitumista ja näiden normien kyseenalaistamista amerikkalaisessa viihteessä ja nykykultuu- rissa. Yhdysvaltalainen naisvankilasta kertova komediallinen draamasarja Orange Is the New Black (USA 2013–) on herättänyt paljon keskustelua siinä esitettyjen naisrepresentaatioiden monipuolisuudesta. Sarjan on nähty sekä rikkovan (esim. Enck & Morrissey 2015) että toistavan (esim. Caputi 2015; Najumi 2013) olemassa olevia luokkaan, sukupuoleen, etnisyyteen tai ihonväriin liittyviä stereotyyppisiä representaatioita. Sarjallisuus on osaltaan mahdollistanut erilaiset tulkinnat, sillä jaksosta toiseen eri henkilöhahmojen motivaatioita ja tavoitteita määritellään uusissa konteksteissa ja näkökulmissa. Prosessi- -
College Women's Attitudes About Imprisoned Women in Orange Is The
International Journal of Business and Social Science Vol. 9 • No. 3• March 2018 doi:10.30845/ijbss.v9n3p2 College Women’s Attitudes about Imprisoned Women in Orange is the New Black And Real Life Women Prison Inmates Kenneth Elvis Jones, Dmin, PhD Endowed Distinguished Professor Dean, Area of Liberal and Fine Arts Elizabeth City State University 1704 Weeksville Rd., Elizabeth City, NC 27909 Brandi Gray Graduate Student – Communications East Carolina University E. 5th Street, Greenville, NC 27858 Abstract Orange is the New Black (OITNB) has enjoyed prominence as one of the most watched shows on the very popular streaming video network, Netflix. As more women are held in U.S. prisons each year, conditions of incarcerated women remain a concern. Cultivation theory of mass media research is discussed as a traditional model for explaining the effects of how heavy viewing of OITNB impacts the way college women see the conditions and behavior of inmates in the series as the way women are treated and behave in real prisons. Sexual abuse, racial segregation, mental illness, substance abuse, and assault by correctional officials are addressed. The study concluded that the number of episodes of OITNB viewed by college women did not predict the extent to which college women saw similarity in the treatment of women in OITNB and real world prisons. Keywords: women in prison, prison mental health, cultivation theory, incarceration of women in media 1.0 Introduction Social justice issues are one of the most polarizing and controversial debates in the United States, including what should be done with the penal system. -
Orange Is the New Black – Season 2 – Cast List
ORANGE IS THE NEW BLACK – SEASON 2 – CAST LIST SERIES REGULARS PIPER CHAPMAN – TAYLOR SCHILLING LARRY BLOOM – JASON BIGGS GALINA “RED” REZNIKOV – KATE MULGREW SAM HEALY - MICHAEL HARNEY TASHA “TAYSTEE” JEFFERSON - DANIELLE BROOKS PENNSATUCKY – TARYN MANNING CRAZY EYES - UZO ADUBA NICKY NICHOLS – NATASHA LYONNE RECURRING CAST ALEX VAUSE – LAURA PREPON (Episodes 1, 10, 11, 13) PORNSTACHE – PABLO SCHREIBER (Episodes 8, 9, 10) VEE – LORRAINE TOUSSAINT (Episodes 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13) JOSEPH “JOE” CAPUTO – NICK SANDOW (Episodes 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13) POUSSEY – SAMIRA WILEY (Episodes 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13) GLORIA MENDOZA – SELENIS LEYVA (Episodes 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13) LORNA MORELLO – YAEL STONE (Episodes 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13) DAYANARA DIAZ – DASCHA POLANCO (Episodes 2, 3, 5, 6, 7, 8, 9, 10, 11, 12, 13) FLACA – JACKIE CRUZ (Episodes 2, 3, 4, 5, 6, 7, 8, 9, 10, 12, 13) O’NEILL – JOEL MARSH GARLAND (Episodes 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 13) BIG BOO – LEA DELARIA (Episodes 2, 3, 4, 5, 6, 7, 9, 10, 11, 12, 13) JOHN BENNETT – MATT MCGORRY (Episodes 2, 3, 5, 6, 7, 8, 9, 10, 11, 12, 13) JANAE WATSON – VICKY JEUDY (Episodes 2, 3, 4, 5, 6, 7, 9, 10, 11, 12, 13) FIG –ALYSIA REINER (Episodes 1, 2, 5, 6, 7, 8, 10, 11, 12, 13) NORMA – ANNIE GOLDEN (Episodes 2, 3, 4, 5, 6, 7, 9, 11, 12, 13) SISTER INGALLS – BETH FOWLER (Episodes 2, 3, 4, 6, 7, 8, 9, 10, 11, 13) MARITZA – DIANE GUERRERO (Episodes 2, 3, 4, 5, 6, 7, 9, 10, 12, 13) ALEIDA DIAZ – ELIZABETH RODRIGUES (Episodes 2, 3, 5, 6, 7, 8, 10, 11, 12, 13) MARIA RUIZ – JESSICA PIMENTEL (Episodes 2, 4, 5, 6, 7, 8, 9, 10, 12, 13) SOPHIA BURSET – LAVERNE COX (Episodes 2, 3, 4, 6, 7, 8, 10, 11, 12, 13) BROOK SOSO – KIMIKO GLENN (Episodes 3, 4, 6, 7, 8, 9, 10, 11, 12, 13) LEANNE TAYLOR – EMMA MYLES (Episodes 2, 3, 4, 6, 8, 9, 11, 12, 13) ANGIE RICE – JULIE LAKE (Episodes 2, 3, 4, 6, 7, 8, 11, 12, 13) BLACK CINDY – ADRIENNE C.