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Bury Your Gays’
. Volume 15, Issue 1 May 2018 Toxic regulation: From TV’s code of practices to ‘#Bury Your Gays’ Kelsey Cameron, University of Pittsburgh, USA Abstract: In 2016, American television killed off many of its queer female characters. The frequency and pervasiveness of these deaths prompted outcry from fans, who took to digital platforms to protest ‘bury your gays,’ the narrative trope wherein queer death serves as a plot device. Scholars and critics have noted the positive aspects of the #BuryYourGays fan campaign, which raised awareness of damaging representational trends and money for the Trevor Project, a suicide prevention organization focused on LGBTQ youth. There has been less attention to the ties #BuryYourGays has to toxicity, however. Protests spilled over into ad hominem attacks, as fans wished violence upon the production staff responsible for queer character deaths. Using the death of The 100 character Lexa as a case study, this article argues that we should neither dismiss these toxic fan practices nor reduce them to a symptom of present-day fan entitlement. Rather, we must attend to the history that shapes contemporary antagonisms between producers and queer audiences – a history that dates back to television’s earliest efforts at content regulation. Approaching contemporary fandom through history makes clear that toxic fan practices are not simply a question of individual agency. Longstanding industry structures predispose queer fans and producers to toxic interactions. Keywords: queer fandom, The 100, television, regulation, ‘bury your gays’ Introduction In March of 2016, queer fans got angry at American television. This anger was both general and particular, grounded in long-simmering dissatisfaction with TV’s treatment of queer women and catalyzed by a wave of character deaths during the 2016 television season. -
Bi the Wayside?: Shifts in Bisexual Representations in Teen Television
University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations August 2019 Bi the Wayside?: Shifts in Bisexual Representations in Teen Television Analise Elle Pruni University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the Journalism Studies Commons, and the Lesbian, Gay, Bisexual, and Transgender Studies Commons Recommended Citation Pruni, Analise Elle, "Bi the Wayside?: Shifts in Bisexual Representations in Teen Television" (2019). Theses and Dissertations. 2582. https://dc.uwm.edu/etd/2582 This Thesis is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. BI THE WAYSIDE?: SHIFTS IN BISEXUAL REPRESENTATIONS IN TEEN TELEVISION by Analise Pruni A Thesis Submitted in Partial Fulfilment of the Requirements for the Degree of Master of Arts in Media Studies at University of Wisconsin-Milwaukee August 2019 ABSTRACT BI THE WAYSIDE?: SHIFTS IN BISEXUAL REPRESENTATIONS IN TEEN TELEVISION by Analise Pruni The University of Wisconsin-Milwaukee, 2019 Under the Supervision of Professor Elana Levine Television can be a reflection of the values we have as a society and its representations can have an impact on the way people, especially youth, shape their identities. This examination of teen-oriented television shows on the CW network looks at bisexual and queer representations and compares them with previous representations. I ground this essay in the youth-oriented television context, the progression of queer television representations, and ideas about media representation in a post-gay era. -
Dead Lesbian Syndrome’ and Intra-Fandom Management of Toxic Fan Practices in an Online Queer Community
. Volume 15, Issue 1 May 2018 Killing off Lexa: ‘Dead Lesbian Syndrome’ and intra-fandom management of toxic fan practices in an online queer community Mar Guerrero-Pico, María-José Establés & Rafael Ventura, Universitat Pompeu Fabra–Barcelona, Spain Abstract: This article contributes to the debates around toxic fan practices by focusing on the regulation and management strategies activated intra-fandom in order to combat fan toxicity. In particular, the social media boycott campaign against the teen series The 100 (The CW, 2014-) is examined after the death of a popular lesbian character in March 2016. This event propelled an online movement termed ‘LGBT Fans Deserve Better’, dedicated to improving the representation of lesbian and bisexual women on television and of characters infamously subjected to the occurrence of the ‘Dead Lesbian Syndrome’ trope. To frame this study, we discuss television representation of lesbian love and its effects on young queer females, and draw some necessary conceptual distinctions within what we call the spectrum of conflict formed by fan-tagonism, anti-fandom, and toxic fan practices, and how that spectrum relates to current research on fan activism. Then we apply a qualitative methodology based on grounded theory, discourse analysis, and reception studies to the study of The 100 fans’ online interactions in a lesbian forum and on Twitter in the wake of the character’s death. The results confirm the existence of a toxic fan faction that harassed producers on social media. However, three key self-regulation strategies are exemplified at the same time. First, fear of industry retaliation based on internalised social prejudices towards LGBTQ individuals; second, strategic thinking; and third, the common good of achieving a positive LGBTQ representation over time. -
The 100 Free
FREE THE 100 PDF Kass Morgan | 336 pages | 26 Sep 2013 | Hodder & Stoughton General Division | 9781444766882 | English | London, United Kingdom 10 Shows To Watch If You Like The | ScreenRant Set ninety-seven years after a nuclear war has destroyed civilization, The 100 a spaceship housing The 100 lone survivors sends one hundred juvenile delinquents back to Earth, in hopes of possibly re-populating the planet. For an enhanced browsing experience, get the IMDb app on your smartphone The 100 tablet. Get the IMDb app. Trigedasleng, the language spoken by the grounders, was created by the same person who created Dothraki, the language spoken in Game of Thrones Clarke : I was born in space. I've The 100 felt the sun on my face or breathed real air or floated in the The 100. None of us have. For three generations, The Ark has kept what's left of the human race alive, but now our home is dying, and we are the last hope Build up your Halloween Watchlist with our list of the most popular horror titles on Netflix in October. See the list. Sign In. Added to Watchlist. Critic Reviews. Marie Avgeropoulos. Bob Morley. Lindsey Morgan. Richard Harmon. Paige Turco. Abigail Griffin. Henry Ian Cusick. Christopher Larkin. Jarod Joseph. Isaiah Washington. Sachin Sahel. Devon Bostick. Tasya The 100. Adina Porter. Luisa d'Oliveira. Chelsey Reist. Creator: Jason Rothenberg. Facebook Twitter E-mail. Awards Nominated for The 100 Primetime Emmy. This series is not flawless. It hasn't oscar-winnig performances, but solid actors who are not bad at all. -
Bury Your Gays: History, Usage, and Context Haley Hulan Grand Valley State University
McNair Scholars Journal Volume 21 | Issue 1 Article 6 2017 Bury Your Gays: History, Usage, and Context Haley Hulan Grand Valley State University Follow this and additional works at: https://scholarworks.gvsu.edu/mcnair Recommended Citation Hulan, Haley (2017) "Bury Your Gays: History, Usage, and Context," McNair Scholars Journal: Vol. 21 : Iss. 1 , Article 6. Available at: https://scholarworks.gvsu.edu/mcnair/vol21/iss1/6 Copyright © 2017 by the authors. McNair Scholars Journal is reproduced electronically by ScholarWorks@GVSU. https://scholarworks.gvsu.edu/ mcnair?utm_source=scholarworks.gvsu.edu%2Fmcnair%2Fvol21%2Fiss1%2F6&utm_medium=PDF&utm_campaign=PDFCoverPages Bury Your Gays: History, Usage, and Context 1. Abstract story. Many instances of this trope draw a direct correlation between the couple Bury Your Gays is a literary trope that has confessing their feelings for one another, appeared in media across genre since the kissing, having sex for the first time and end of the 19th century. Works using the the character’s death; they often die mere trope will feature a same-gender couple and moments or pages after their relationship is with one of the lovers dying and the other confirmed for the audience. The surviving realizing they were never actually gay, often lover will then go through a process of re- running into the arms of a heterosexual acclimation whereby they realize that their partner. This trope was originally used as attraction amounted to an experiment or a way for gay authors to write about gay temporary lapse in judgement—or even characters without coming under fire for insanity, as homosexuality was classified as breaking laws and social mandates against a mental illness until 1974—and they then the “endorsement” of homosexuality. -
English – Trigedasleng Code- Switching in the CW Series "The 100”
English – trigedasleng code- switching in the CW series "The 100” Cambio de código lingüístico inglés – trigedasleng en la serie de televisión CW "The 100” Rodrigo Erazo J.1 Recepción: 07 de agosto de 2020 Aceptación: 19 de octubre de 2020 1 Universidad Central del Ecuador. Quito, Ecuador. [email protected] REVISTA PUCE. ISSN: 2528-8156. NÚM. 111 3 NOVIEMBRE DE 2020 - 3 MAYO DE 2021, RODRIGO ERAZO J., PP. 39-54 English – trigedasleng code- switching in the CW series "The 100” Cambio de código lingüístico inglés – trigedasleng en la serie de televisión CW "The 100” Rodrigo Erazo J. Keywords: code-switching, motivations, constructed language, Trigedasleng Palabras clave: cambio de código lingüístico, motivaciones, lengua construida, trigedasleng Abstract The present article deals with the considered the different situations, con- issue of establishing the characters’ rea- texts, and functions where each linguis- sons or motivations for code-switching tic code is used. The results revealed that between English and the constructed the major causes for such alternation in- language, Trigedasleng, in the American clude affective and strategic functions in TV series "The 100”. To accomplish this situational and conversational environ- objective, a sample of six episodes issued ments, where English and Trigedasleng from seasons 2 and 3 of the series, have are assigned a specific place. It has been analyzed using an observational also been observed, however, that the approach. The qualitative analysis has screenplay allowed the characters, bilin- 41 ENGLISH – TRIGEDASLENG CODE-SWITCHING IN THE CW SERIES “THE 100” gual or not, to use both languages indis- different reactions in the TV audience as tinctly to evidence the speakers’ linguis- has been determined by the developer tic resourcefulness as well as to provoke and screenwriters of the series. -
Ff Clexa Inglese 0A.Pdf
CLEXA Copyright © <2017> <paginerosa.tv e Clexa-Elycia-Lexark - Gruppo di Supporto Italiano> All rights reserved. ISBN: —— ISBN-13: —— 1 0 - 9 01 Holding hands a: Pic-Nik 02/07/2015 Completed Part 1 of 30 days OTP challenge 30 days OTP challenge. Day 1: Holding hands - Clexa edition https://archiveofourown.org/works/4255788 https://www.fanfiction.net/s/11353836/1/01-Holding-hands 02/17 – Cuddling somewhere/ Spooning a: PicNik 26/03/2016 Completed Part 2 of 30 days OTP challenge The second work for 30days otp challenge. I wanted to write cuddling but it turned to spooning so...it goes for both because why not. Plus I am actually not sure about the difference. Lexa's POV. http://archiveofourown.org/works/6361759 03. Watching a movie a: PicNik 06/04/2016 Completed Part 3 of 30 days OTP challenge Clarke makes Lexa to watch Hunger Games-Mockingjay part 2 http://archiveofourown.org/works/6476842 0300 a: K17L53 25/02/2018 Completed Part 1 of Clexa week 2018 Captain Woods has had a long day out on patrol. And all she wants right now is sleep and silence. But there seems to be someone in the communal kitchen being obnoxiously loud. Enter Private Griffin, who’s up at 3 in the morning making cookies. No one likes being caught doing someone they’re not supposed to and Lexa is not at all impressed by her quirky little comebacks. But maybe, just maybe, they can work out a little deal so Clarke doesn’t get in trouble? http://archiveofourown.org/works/13796673 2 03x04 watch the thrones: some wounds go deeper a: She’sAknightOfknights 23/02/2016 Completed Lexa finally makes her way up to her room after a long day, only to find her guards have vanished.