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Popular Culture and the Feminist Ideal: a Feminist Critique Of
Zendejas 1 Table of Contents Introduction………………………………………………………………………………………2 Background………………………………………………………………………………………7 Meet The Fabulous Foursome…………………..………………………………………………8 Origin……….......……………………………...……………………………………………......10 Method…………………………………………………………………………………………..14 Analysis...………………………………………………………………………………………..16 Conclusion…...………………………………………………………………………………….23 Work Cited..…………………………………………………………………………………….25 Zendejas 2 Popular Culture and the Feminist Ideal: A Feminist Critique of Home Box Office’s Sex and the City “You have no idea how many men I have had to sleep with to get this award,” was the opening line to Kim Cattrall’s Golden Globe Best Supporting Actress acceptance speech, for her performance in Sex and the City in 2003. The success of the series that led to her award is a direct correlation to the large crowds that the film attracted when it made its debut in 2008. What is astounding, is that in 2007 only five of the fifty top grossing movies in American had a woman as a lead character , so not surprisingly critics throughout the nation were stunned at the great success the film Sex and the City had on its opening weekend. While critics were astounded, loyal fans predicted the success. The popularity of the film may perhaps be indicative of the times . This film came three years after the season finale of the HBO series also titled, Sex and the City . The series began at the peak of an ambitious female generation, empowered by third wave, and post-modern feminist movements. It may be that the emergence of a series that features the lives of four New York City women whose motto is to “do it like a man,” is the reason for the incredible following the series has had since its public debut. -
The Representation of Gender Roles in the Media
The representation of gender roles in the media - An analysis of gender discourse in Sex and the City movies Therese Ottosson Xin Cheng Supervisor: Fredrik Sunnemark Examiner: Ann Towns Bachelor’s thesis in Political Science 15 ECTS Department of Economics and Informatics University West Spring term 2012 Abstract Media is a big part of people‘s everyday lives. It influences both how we see ourselves and the world to some extent. There are many different types of media, for example: television shows, movies, the radio, news papers, advertisements which are placed in random places and the internet. In these different forms of media, there are images of men and women, which are represented in different ways and with different characteristics. Research has been made on a lot of movies and television shows and this thesis will be adding to this vast amount of research by analyzing gender representation in the movies Sex and the City 1 and 2. By using discourse analysis, the results show different types of gender representation and whether the characters in Sex and the City challenge the patriarchal privilege. Assuming social constructivism, we believe that these images of gender representation in movies affect our perception of what a man or a woman is. Our results suggest that the characters do still follow the patriarchal privilege but some characters do on occasion challenge them. However the outcome is rarely successful. Keywords Discourse Analysis, Representation, Gender Roles, Film and Media, Sex and the City. 1 Table of Contents 1. Introduction ....................................................................................................................... 4 2. Literature Review .............................................................................................................. 7 3. Theoretical approach ........................................................................................................ -
On His Own Terms
Adobe Premiere Pro CS5 Success Story Sharlto Copley On his own terms Sharlto Copley revisits his District 9 character, Wikus Van De Merwe Sharlto Copley Sharlto Copley shapes his own creative destiny using Adobe® Los Angeles, California www.facebook.com/pages/SHARLTO- Premiere® Pro CS5 software COPLEY/108950282368 www.funnyordie.com/sharlto_copley Sharlto Copley is just as comfortable in front of the camera as he is behind it. He is perhaps best known for appearing as if from nowhere and landing a starring role as the sinister Wikus Van De Merwe in the 2009 Oscar-nominated movie District 9, directed by Neill Blomkamp. He is playing Captain “Howling Mad” Murdock in The A-Team, slated for release in June 2010. He is also a director, writer, producer, and visual effects producer with many films and television programs to his credit. In short, when it comes to filmmaking, Sharlto Copley does it all. From the very beginning of his career, Adobe Premiere Pro software has been his choice for non-linear editing. “I’ve always been a big fan of Adobe Premiere Pro,” says Copley. “It was the first software to break the mold and deliver timeline-based editing. Adobe Premiere Pro transformed the industry and outclassed old-style systems that force you to think about A and B roll and toggle between windows. It was a different school of thought—one that supports the fluid way today’s new filmmaking breed thinks.” “Adobe Premiere Pro CS5 is so incredibly stable—and with native 64-bit support, I found myself sitting there saying ‘Wow’ at its amazing performance.” Sharlto Copley Actor and filmmaker Challenge An Adobe Premiere Pro veteran • Gain more creative control in Copley has used Adobe Premiere Pro for years, but he is more devoted and enthusiastic than ever now filmmaking that he is using Adobe Premiere Pro CS5. -
District 9 – a Little Known Fact About the Faculty of Veterinary Science and the Movie
District 9 – A little known fact about the Faculty of Veterinary Science and the movie By CvB Posted on 28 August 2009 Image: D-9.com District 9, the new film by the renowned film producer and Oscar-winning director, Peter Jackson, who was responsible for the production and special effects of movies such as King Kong and Lord of the Rings, is released on the big screen by Ster Kinekor today. Not many people know that some of the scenes for the movie were filmed at the Faculty of Veterinary Science of the University of Pretoria in December 2008. The filming involved one of its Anatomy halls that was converted in a sci-fi biomedical laboratory with, among other things, a space-technology sliding door, and the Anatomy museum, while some equipment from the Onderstepoort Veterinary Academic Hospital (OVAH) and the Biomedical Research Centre were also utilized. A pulsating atmosphere existed on the set in the week during which actors, crew-members and technical personnel spent time on the campus while life-like 7-feet aliens were ‘hanging around’. The movie not only features some South African settings but is mainly set in Johannesburg as the city that is being invaded by aliens from space. As we all know, South African born Neill Blomkamp, who was also present on the set during filming at the campus, was the Director while fellow South African, Sharlto Copley, plays the lead role. According to the preliminary reviews by critics this promises to be an excellent movie with amazing special effects that were executed to perfection. -
New Runner Page
Photo courtesy of yowazzup.com Manny Beltran/The Runner Photo courtesy of magxone.com Prince of Persia came to theatres last week. See story Kasie Muro presents an award to Heather Veitch. See Summer fashion is upon us. See story on Page 2. on summer movies on Page 3. story on Page 5. June 2, 2010 One copy per person of each edition is Vol. 35, No. 24 www.csub.edu/runner FREE free. Additional copies 50 cents each. The tail tale pond Endangered Photo by sports here to stay Breanna Cooper/The Runner By Mark Nessia discontinued at the end Managing Editor of the 2009-10 academ- [email protected] ic year. There was a For the past two weeks, Korean chance all four sports sculptor Byoung-Tak Mun had Applause filled the would be saved if the been creating a more than 25- room as CSUB programs raised $1.4 foot spiraling dragon tail out of President Horace million by the end of rebar and branches in the Art Mitchell made the May. Department at California State much-anticipated Mitchell said just over University, Bakersfield. On announcement regard- $700,000 has been Friday, May 28, the half-ton ing the fate of four raised to this point sculpture was placed by crane sports on the verge of toward the $1.4 million onto cement footings in the pond being discontinued. goal, but the strong on the west side of campus. In “Based on my confi- support for the effort Korean mythology, the dragons dence in their ability to and the enthusiasm represent nature. -
INEMA INTERNATIONAL Students, Faculty, Staff and the Community Are Invited • ADMISSION IS FREE • Donations Welcome 7:30 P.M
MURRAY STATE UNIVERSITY • Fall 2017 INEMA INTERNATIONAL Students, faculty, staff and the community are invited • ADMISSION IS FREE • Donations Welcome 7:30 p.m. Thursday, Friday and Saturday evenings • Curris Center Theater AUG. 24-25- 26 • AUSTRALIA/UK, 2016 OCTOBER 5-6-7 LION FALL BREAK - NO FILM Dir. By Garth Davis With Dev Patel, Rooney Mara, David Wenham, Nicole Kidman. English/Hindi/Bengali. PG-13, 118 mins. OCT. 12-13- 14 • CHINA/FRANCE, 2002 Lion is an incredible story based on the non-fiction book A Long Way Home BALZAC AND THE LITTLE CHINESE SEAMSTRESS by Saroo Bierley, screen play by Luke Davis. Saroo is a 5 year old who ekes Dir. Dai Sijie With Zhou Xun (周迅), Liu Ye (劉燁), a living on the streets with his brother. One day they are separated, little Saroo gets lost and survives many challenges before being adopted by Chen Kun (陳坤). an Australian couple. 25 years later, the adult Saroo - played by Dev Patel Mandarin w/English subtitles. N.R, 111 mins. (Slumdog Millionaire) - tries to find his birth mother from Google Earth Based on the director’s semi-autobiographical novel Balzac and the Little pictures and faint memories. (theguardian.com). Chinese Seamstress (2000), this acclaimed “coming of age” film is set during China’s cultural revolution. Two young university students are sent to a mountain village for a Maoist re-education to purge them of their decadent Western education. Thanks to their skills in music and the AUG. 1 SEPT. 1 - 2 • USA, 2009 discovery of a cache of forbidden French books, they awaken the imagi- AMREEKA nation of a young seamstress to a world beyond her beautiful, yet remote Dir. -
The Impact of Social Media on a Movie's Financial Performance
Undergraduate Economic Review Volume 9 Issue 1 Article 10 2012 Turning Followers into Dollars: The Impact of Social Media on a Movie’s Financial Performance Joshua J. Kaplan State University of New York at Geneseo, [email protected] Follow this and additional works at: https://digitalcommons.iwu.edu/uer Part of the Economics Commons, and the Film and Media Studies Commons Recommended Citation Kaplan, Joshua J. (2012) "Turning Followers into Dollars: The Impact of Social Media on a Movie’s Financial Performance," Undergraduate Economic Review: Vol. 9 : Iss. 1 , Article 10. Available at: https://digitalcommons.iwu.edu/uer/vol9/iss1/10 This Article is protected by copyright and/or related rights. It has been brought to you by Digital Commons @ IWU with permission from the rights-holder(s). You are free to use this material in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This material has been accepted for inclusion by faculty at Illinois Wesleyan University. For more information, please contact [email protected]. ©Copyright is owned by the author of this document. Turning Followers into Dollars: The Impact of Social Media on a Movie’s Financial Performance Abstract This paper examines the impact of social media, specifically witterT , on the domestic gross box office revenue of 207 films released in the United States between 2009 and 2011. -
Insert East Coast Logo
THERE’S A NEW MO’ IN TOWN! Wednesday November 24: First it was Mr. T, now Mr. E is standing up for men’s rights to sport a Mohawk! The newly crowned Mr England, Vaughan Bailey, has joined forces with The A-Team and celebrity groomer Jason Shankey to ensure November is the month of the Mohawk! Thanks to all-action hardman BA Baracus in The A-Team and a whole host of manly celebrities, from Jared Leto to David Beckham, more and more British men are getting Mo’d up, as ‘the Hawk’ makes its mark as one of the styles for 2011. First sported by Mr T in the original A-Team series, it has taken Mr. England to re-launch the funky cut, inspired by the new film version of The A-Team. Bailey, who was crowned Mr England in September, went from Hobo to Hunk, having been plucked from a life on the streets to be crowned Mr. England, and cites BA Baracus as one of his inspirations. Now he is fronting the campaign with celebrity groomer Jason Shankey, who is offering free Mohawks to anyone feeling manly enough to ask for a ‘BA’ on Friday 26 November. All those who take up the offer will also be rewarded with £5 off the A-Team on Blu-ray when it is released on Monday 29th November. Shankey, whose Fulham salon sees some of London’s coolest celebrities through its doors in London’s most happening district, has seen a huge rise in the demand for Mohawks this year. -
Race in Hollywood: Quantifying the Effect of Race on Movie Performance
Race in Hollywood: Quantifying the Effect of Race on Movie Performance Kaden Lee Brown University 20 December 2014 Abstract I. Introduction This study investigates the effect of a movie’s racial The underrepresentation of minorities in Hollywood composition on three aspects of its performance: ticket films has long been an issue of social discussion and sales, critical reception, and audience satisfaction. Movies discontent. According to the Census Bureau, minorities featuring minority actors are classified as either composed 37.4% of the U.S. population in 2013, up ‘nonwhite films’ or ‘black films,’ with black films defined from 32.6% in 2004.3 Despite this, a study from USC’s as movies featuring predominantly black actors with Media, Diversity, & Social Change Initiative found that white actors playing peripheral roles. After controlling among 600 popular films, only 25.9% of speaking for various production, distribution, and industry factors, characters were from minority groups (Smith, Choueiti the study finds no statistically significant differences & Pieper 2013). Minorities are even more between films starring white and nonwhite leading actors underrepresented in top roles. Only 15.5% of 1,070 in all three aspects of movie performance. In contrast, movies released from 2004-2013 featured a minority black films outperform in estimated ticket sales by actor in the leading role. almost 40% and earn 5-6 more points on Metacritic’s Directors and production studios have often been 100-point Metascore, a composite score of various movie criticized for ‘whitewashing’ major films. In December critics’ reviews. 1 However, the black film factor reduces 2014, director Ridley Scott faced scrutiny for his movie the film’s Internet Movie Database (IMDb) user rating 2 by 0.6 points out of a scale of 10. -
Diana Cilliers
DIANA CILLIERS COSTUME DESIGNER www.dianacilliers.com Tertiary Education: Bachelor of Arts Degree 1977 in Costume Design, Drama, History of Art ,Psychology – University of Pretoria *Registered for a MAFA Master of Fine Arts Michaelis School of Art – University of Cape Town –in 2014/2015 subject was entitled ‘The Emotional Language of Clothing in Africa and the Diaspora’ I did not complete this MAFA due to external work pressure and lack of time to be a ‘full time’ student. I am continuing to work on this thesis. My Supervisor at Michaelis was Andrew Lampbrecht. Awards: 2017:SAFTA Nomination 2017 Best Costume Design on a Feature Film for ‘Sheperds and Butchers’ 2016:Primetime Emmy Nomination – Outstanding Costume Design for a Period/Fantasy Series, Limited Series or Movie (Roots) Night 1 with Ruth Carter and others 2015 Robert Award Nomination Best Costume Design (Arets kostumier) The Salvation (2014) 2015 SAFTA Nomination Best Costume Design ‘Faan se Trein’ with Leonie Roberts 2014 SAFTA (South African Film and Television Academy) Award for Best Costume Design for ‘Mandela Long Walk to Freedom) with Ruy Filipe 2013 Primetime Emmy Nomination for Outstanding Costume Design for a Movie,Miniseries or Special for HBO’s ‘The Girl’ with Melissa Moritz 2013 Womens International Television and Film Showcase Award for Outstanding Costume Design 2011 SAFTA Nomination for Best Costume Design for movie ‘Themba’ 2007 SAFTA Award Best Costume Design for ‘Colour of Freedom’ (Goodbye Bafana) 2004 Award Nomination (Canada) for Best Costume Design Gemini for award winning series ‘Human Cargo’ Known for :Roots, Mandela Long Walk to Freedom, District 9, Chronicle, The Giver, America the Story of US,The Girl After completin g her degree in Costume/Set Design at the University of Pretoria, Diana started out her career with three years in Theatre- CAPAB and PACT- Working on various operas, ballets and dramas. -
Vicki Hiatt Music Supervisor / Editor
VICKI HIATT MUSIC SUPERVISOR / EDITOR AWARDS & NOMINATIONS GOLDEN REEL AWARD ALI NOMINATION (2001) Best Sound Editing -Music, Feature Film, Domestic and Foreign GOLDEN REEL AWARD THE ROAD TO EL DORADO NOMINATION (2000) Best Sound Editing-Music, Animation FEATURE FILM LUCK Peggy Holmes, dir. Paramount Pictures Jonathan Aibel, Glenn Berger, David Ellison, Dana Music Editor Goldberg, Ignacio Perez Dolset, Jose Frederick San Roman, prods. THE MONKEY KING Stephen Chow, dir. Pearl Studio Music Editor TOP GUN: MAVERICK Jerry Bruckheimer, Tom Cruise, David Ellison, prods. Paramount Pictures Joseph Kosinski, dir. Music Editor THE BAD GUYS Aaron Blabey, Patrick Hughes, Damon Ross, exec. prods. Dreamworks Animation Music Editor GO KARTS Sonia Borella, Jamie Hilton, prods. Netflix Owen Trevor, dir. Music Editor MONSTER ON THE HILL Brad Booker, Sandra Rabbins, prods. Paramount Pictures Animation Bradley Raymond, dirs. Music Editor SUPER PETS Patty Hicks, prod. Warner Bros. Pictures Samm Levine, Jared Stern, dirs. Music Editor THE EXTINCTS David Lipman, Michael Siegel, prods. Starling Entertainment William Joyce, dir. Music Editor The Gorfaine/Schwartz Agency, Inc. (818) 260-8500 1 VICKI HIATT MUSIC SUPERVISOR / EDITOR ABOMINABLE Jane Hartwell, Lisa Stewart, prods. Dreamworks Animation Jill Culton, dir. Music Editor SPACE MONKEY PRINCE Debbie Vercilino, Chuck Williams, prods. Music Editor John Davis, dir. PLAYMOBIL: THE MISSING PIECE Moritz Borman, Dimitri Rassam, Aton ON Animation Studios / Wild Bunch Soumache, Alexis Vonarb, prods. Music Editor Lino DiSalvo, dir. THE ARK & THE AARDVARK Keith Kjarvak, Kurt Rauer, prod. Unified Pictures John Stevenson, dir. Music Editor HOTEL TRANSYLVANIA 3 Michelle Murdocca, prod. Sony Pictures Animation Gendy Tartakovsy, dir. Music Editor SURF’S UP 2: WAVEMANIA Toby Chu, Composer Sony Pictures Animation Michelle Wong, prod. -
Authorship and Post-Classical Hollywood" (2015)
Old Dominion University ODU Digital Commons Communication & Theatre Arts Faculty Communication & Theatre Arts Publications 2015 Understanding Tony Scott: Authorship and Post- Classical Hollywood Robert Arnett Old Dominion University, [email protected] Follow this and additional works at: https://digitalcommons.odu.edu/communication_fac_pubs Part of the Film Production Commons Repository Citation Arnett, Robert, "Understanding Tony Scott: Authorship and Post-Classical Hollywood" (2015). Communication & Theatre Arts Faculty Publications. 20. https://digitalcommons.odu.edu/communication_fac_pubs/20 Original Publication Citation Arnett, R. (2015). Understanding Tony Scott: Authorship and Post-Classical Hollywood. Film Criticism, 39(3), 48-67. This Article is brought to you for free and open access by the Communication & Theatre Arts at ODU Digital Commons. It has been accepted for inclusion in Communication & Theatre Arts Faculty Publications by an authorized administrator of ODU Digital Commons. For more information, please contact [email protected]. Understanding Tony Scott: Authorship and Post-Classical Hollywood Robert Arnett Few directors represent post-classical Hollywood cinema better than Tony Scott. His Hollywood career arcs from the 1980s and the iconic Top Gun (1984) to 2010, with the underrated Unstoppable. Scott’s films innovated the fragmentation and excessiveness of the post-classical Hollywood films, including the ability to overwhelm to an extent that negates for many critics and academics the possibility of any substance. Of Tony Scott, David Thomson, in his massive The New Biographical Dictionary o f Film (2003), managed about 100— dismissive—words, issuing, in effect, a challenge: those that see something in Tony Scott have “the advantage over me” (794).1 What Thomson and others fail to see in Tony Scott’s all-too-short career is a Hollywood director with a distinct authorship in the post-classical context.