Mr. Spock, Don Draper and the Undoing Project – Lessons for Investment Managers and Asset Allocators
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Selling Nostalgia: Mad Men, Postmodernism and Neoliberalism Deborah Tudor [email protected], [email protected]
Southern Illinois University Carbondale OpenSIUC Neoliberalism and Media Global Media Research Center Spring 2012 Selling Nostalgia: Mad Men, Postmodernism and Neoliberalism Deborah Tudor [email protected], [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gmrc_nm A much earlier version of this project was published in Society, May 2012. This version expands upon the issues of individualism under neoliberalism through an examination of ways that the protagonist portrays a neoliberal subjectivity. Recommended Citation Tudor, Deborah, "Selling Nostalgia: Mad Men, Postmodernism and Neoliberalism" (2012). Neoliberalism and Media. Paper 4. http://opensiuc.lib.siu.edu/gmrc_nm/4 This Article is brought to you for free and open access by the Global Media Research Center at OpenSIUC. It has been accepted for inclusion in Neoliberalism and Media by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. Selling Nostalgia: Mad Men , Postmodernism and Neoliberalism Deborah Tudor Fredric Jameson identified postmodernism as the “cultural logic of late capitalism” in his 1984 essay of the same name. Late capitalism, or neoliberalism, produces a society characterized by return to free market principles of the 19 th century and cultivates a strong return to rugged individualism. (Kapur) Postmodern cultural logic emphasizes visual representations of culture as a dominant cultural determinant. It is this framework that opens a discussion of Mad Men, a series that uses a mid century advertising firm as a filter for a history that is reduced to recirculated images. In Norman Denzin’s discussion of film and postmodernism, he examines how our media culture’s embodies neoliberal, postmodern notions of life and self. -
The Cross-Country/Cross-Class Drives of Don Draper/Dick Whitman: Examining Mad Men’S Hobo Narrative
Journal of Working-Class Studies Volume 2 Issue 1, 2017 Forsberg The Cross-Country/Cross-Class Drives of Don Draper/Dick Whitman: Examining Mad Men’s Hobo Narrative Jennifer Hagen Forsberg, Clemson University Abstract This article examines how the critically acclaimed television show Mad Men (2007- 2015) sells romanticized working-class representations to middle-class audiences, including contemporary cable subscribers. The television drama’s lead protagonist, Don Draper, exhibits class performatively in his assumed identity as a Madison Avenue ad executive, which is in constant conflict with his hobo-driven born identity of Dick Whitman. To fully examine Draper/Whitman’s cross-class tensions, I draw on the American literary form of the hobo narrative, which issues agency to the hobo figure but overlooks the material conditions of homelessness. I argue that the hobo narrative becomes a predominant but overlooked aspect of Mad Men’s period presentation, specifically one that is used as a technique for self-making and self- marketing white masculinity in twenty-first century U.S. cultural productions. Keywords Cross-class tensions; television; working-class representations The critically acclaimed television drama Mad Men (2007-2015) ended its seventh and final season in May 2015. The series covered the cultural and historical period of March 1960 to November 1970, and followed advertising executive Don Draper and his colleagues on Madison Avenue in New York City. As a text that shows the political dynamism of the mid-century to a twenty-first century audience, Mad Men has wide-ranging interpretations across critical camps. For example, in ‘Selling Nostalgia: Mad Men, Postmodernism and Neoliberalism,’ Deborah Tudor suggests that the show offers commitments to individualism through a ‘neoliberal discourse of style’ which stages provocative constructions of reality (2012, p. -
Eternal and Loving God, I Pray That the Words of My Mouth, and the Meditations of All Our Hearts, Will Be Acceptable to You, O Lord, Our Rock and Our Redeemer
Please pray with me… Eternal and loving God, I pray that the words of my mouth, and the meditations of all our hearts, will be acceptable to you, O Lord, our Rock and our Redeemer. Amen. So-Called Gods, a sermon in response to Mark 1:21-28, 1 Corinthians 8:1-13, and Deuteronomy 18:15-20, by Scot McCachren at the First Presbyterian Church of East Hampton, January 31, 2021. What is happiness? It depends on whom you ask. For Don Draper, happiness is something that can sell anything. Draper is the main character of the TV drama called “Mad Men,” which took place throughout the decade of the 60’s. He’s a cynical advertising executive with a knack for boiling anything down to its marketable essence – and subtly manipulating the buying public to respond as he desires. He dismisses real, wholesome, intrinsic human values. And that shows in his definition of “happiness:” “You know what happiness is? Happiness is the smell of a new car. It’s freedom from fear. It’s a billboard on the side of the road that screams reassurance that whatever you are doing is okay. You are okay.” +++ Draper is so good at what he does because he instantly recognizes our idols – or, as Paul calls them, our SO-CALLED GODS – Draper recognizes them and then uses them to his advantage. +++ What about love? Well, first of all, he knows that when we think about love, we aren’t really thinking about the agape love we see in our Holy Scriptures. -
Women and Work in Mad Men Maria Korhon
“You can’t be a man. Be a woman, it’s a powerful business when done correctly:” Women and Work in Mad Men Maria Korhonen Master’s Thesis English Philology Faculty of Humanities University of Oulu Spring 2016 Contents 1. Introduction ................................................................................................................................................... 3 1.1. History of Working Women .................................................................................................................... 5 2. Appearance .................................................................................................................................................. 10 2.1. Appearance bias ................................................................................................................................... 10 2.1.1 Weight ................................................................................................................................................ 12 2.1.2. Beauty ideals ..................................................................................................................................... 15 2.1.3. 1960s Work Attire ............................................................................................................................. 18 2.1.4. Clothing and external image in the workplace .................................................................................. 20 2.1.5. Gender and clothing ......................................................................................................................... -
Mad Men, Episode 10, "Hands & Knees" Tim Anderson Old Dominion University, [email protected]
Old Dominion University ODU Digital Commons Communication & Theatre Arts Faculty Communication & Theatre Arts Publications 9-29-2010 "Listen. Do You Want to Know a Secret?": Mad Men, Episode 10, "Hands & Knees" Tim Anderson Old Dominion University, [email protected] Follow this and additional works at: https://digitalcommons.odu.edu/communication_fac_pubs Part of the Television Commons Repository Citation Anderson, Tim, ""Listen. Do You Want to Know a Secret?": Mad Men, Episode 10, "Hands & Knees"" (2010). Communication & Theatre Arts Faculty Publications. 27. https://digitalcommons.odu.edu/communication_fac_pubs/27 Original Publication Citation Anderson, T. (2010, September 29). "Listen. Do you want to know a secret?": Mad Men, episode 10, "Hands & Knees" [Blog post]. Retrieved from http://blog.commarts.wisc.edu/2010/09/29/listen-do-you-want-to-know-a-secret-mad-men-episode-10-hands- knees/ This Blog 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]. “Listen. Do You Want to Know a Secret?”: Mad Men, Episode 10, “Hands & Knees” September 29, 2010 By Tim Anderson | The most striking use of pop music in this season of Mad Men appears at the beginning of episode eight, “The Summer Man”. Opening with a montage of Don Draper after he has begun to reclaim his life we hear The Rolling Stones 1965 summer release, “(I can’t get no) Satisfaction”. Arguably their signature song of the 1960s, the Stones’ three minutes and forty four seconds of audible discontent is layered onto a somewhat rehabilitated Draper who swims and takes on writing exercises. -
Stoneback Thesis.Pdf
“Women Usually Want to Please”: A Linguistic Analysis of Femininity and Power in Mad Men by Stephanie Stoneback A thesis presented for the B.A. degree with Honors in The Department of English University of Michigan Winter 2019 © 2019 Stephanie Christine Stoneback To my mom. Acknowledgments First of all, I would like to thank my thesis advisor, Anne Curzan, for her unwavering support, guidance, and understanding throughout this process. Anne, without your encouragement, listening ear, criticism, and patience, I would have never been able to produce such exciting analysis that I am proud of. To me, you embody what it means to be a powerful woman and you are such an inspiration as I complete my undergraduate work and enter a new phase of life. Thank you so much for that. Next, I must thank our program director, Adela Pinch, for her helpful tips and constant reminders that everything was going to be okay. Adela, in many ways, you have shaped my education as an English major at the University of Michigan—you taught me the Introduction to Literary Studies course, a course on Jane Austen, and both semesters of Thesis Writing. Thank you so much for the years of engaged learning, critical thinking, and community building. I would also like to thank some of the staff members of the New England Literature Program, who helped instill in me a confidence in my writing and in my self that I never knew I was capable of. Aric Knuth, Ryan Babbitt, Mark Gindi, Maya West, and Kristin Gilger, each of you had a distinct and lasting impact on me, in some unspoken and perhaps sacred ways. -
The Postfeminist Mystique Or, What Can We Learn from Betty Draper?
Digital Commons @ George Fox University Faculty Publications - Department of English Department of English 2013 The oP stfeminist Mystique - Or, What Can We Learn from Betty Draper? Abigail Rine George Fox University, [email protected] Follow this and additional works at: https://digitalcommons.georgefox.edu/eng_fac Part of the English Language and Literature Commons, and the Feminist, Gender, and Sexuality Studies Commons Recommended Citation Rine, Abigail, "The osP tfeminist Mystique - Or, What Can We Learn from Betty Draper?" (2013). Faculty Publications - Department of English. 17. https://digitalcommons.georgefox.edu/eng_fac/17 This Article is brought to you for free and open access by the Department of English at Digital Commons @ George Fox University. It has been accepted for inclusion in Faculty Publications - Department of English by an authorized administrator of Digital Commons @ George Fox University. For more information, please contact [email protected]. The Postfeminist Mystique Or, What Can We Learn from Betty Draper? Abigail Rine 14 April 2013 AMC’s hit series Mad Men has been called both “bad for women” and “the most feminist show on television”. This dispute over the feminist value of Mad Men amplifies when you look particularly at the character of Betty Draper (now Betty Francis). On the surface, it seems problematic that I, a feminist viewer, can feel sympathy for a character such as Don Draper as he fumbles his way through a revolving door of often-nameless women and steadily climbs the ladder of material success. Like most of his male cohorts he is a liar, a cheater, a womanizer, a heavy drinker, and only peripherally aware of the rampant sexism all around him. -
Preaching Scripture Faithfully 47
Preaching Scripture Faithfully 47 Preaching Scripture Faithfully BY CHRISTINE T. MC SPADDEN How can we preach and hear Scripture faithfully in today’s post-imperial-Christian, relativistic, poly-vocal milieu? Despite the challenges, we can appropriate the sacred texts in a refreshed way that allows the power of God’s Word to transfigure, convert, and create. s an art director on Madison Avenue, my job involved presenting to clients and selling them on products, concepts, and ideas. Much like ADon Draper of Mad Men fame, I was charged with crafting a cohesive message and then communicating that message in a creative and compelling way that could be heard in the vernacular of my audience, in order to convert perspectives and ignite desires. Hundreds of pitches honed my skills. Hours of public speaking steeled my nerves. But the first time I climbed the stairs of a pulpit to preach a sermon, my knees buckled, my heart raced, my hands perspired, and my confidence flagged. Up to this point, my presentations espoused the advantages of whitening agents and moisturizing compounds, credit card acceptance and softness assurance. Never had the stakes been so high as when I mounted those steps to proclaim Christ crucified and risen, who was, and is, and will be forever. More absorbent diapers or age-defying micro beads had nothing on the power of the living God to heal, reconcile, enliven, and transform. Given the privilege to preach, entrusted to proclaim the Word of God, I found myself awestruck by the task. Twenty years later, I find myself no less daunted by this vocational prerogative. -
Untitled [Jacqueline Castledine on the Racial Imaginary Of
Kate A. Baldwin. The Racial Imaginary of the Cold War Kitchen: From Sokol'niki Park to Chicago's South Side. Hanover: Dartmouth College Press, 2016. xviii + 236 pp. $45.00, paper, ISBN 978-1-61168-863-4. Reviewed by Jacqueline Castledine Published on H-Diplo (August, 2016) Commissioned by Seth Offenbach (Bronx Community College, The City University of New York) The fairly recent marriage of US diplomatic Schwartz nonetheless raised a significant ques‐ and cultural history has been a rocky one. Al‐ tion on the minds of many. “What if the cultural though they claim different antecedents, both turn is really a huge detour,” he asked, “and not took current form in nineteenth-century Europe one of those nice detours through beautiful and are intently focused on issues of power, most scenery and picturesque small towns, but one of notably who has it and how it is used. On the sur‐ those nasty detours that takes you miles out of face these similarities suggest the solid foundation your way?”[1] Kate Baldwin’s The Racial Imagi‐ for a happy union, yet a significant divide be‐ nary of the Cold War Kitchen: From Sokol’niki tween the two felds was created in the latter Park to Chicago’s South Side may help to relieve decades of the twentieth century when a number the fears of those who continue to question of cultural historians embraced postmodern theo‐ whether cultural studies enriches diplomatic his‐ ry, and in particular its suggestion that there is no tory or pulls it off course. such thing as universal truth. -
The Relationship Between Children and the Elderly in Mad Men
Sustaining and transgressing borders. The relationship between children and the elderly in Mad Men Cecilia Lindgren and Johanna Sjöberg Book Chapter Cite this chapter as: Lindgren, C., Sjöberg, J. Sustaining and transgressing borders: The relationship between children and the elderly in Mad Men, In Joosen, V. (ed), Connecting childhood and old age in popular media, Jackson, MS: University Press of Mississippi; 2018, pp. 184-206. ISBN: 9781496815163 Copyright: University Press of Mississippi The self-archived postprint version of this journal article is available at Linköping University Institutional Repository (DiVA): http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-147540 Sustaining and Transgressing Borders The Relationship Between Children and the Elderly in Mad Men Cecilia Lindgren and Johanna Sjöberg Children and the elderly are, in various contexts, portrayed as ideal companions, and positioned as “others” in relation to the more powerful generation in between (Joosen 128, 136-138; Hockey and James 2-5). In children’s literature, for example, the relationship between the two age groups tends to be romanticized, featuring their mutual interests in nature, animals, fantasy and storytelling. In this chapter, we explore how the two categories meet in the award-winning drama TV series Mad Men. The aim is to scrutinize the link between childhood and old age, by analyzing how the relationships between a young girl, Sally Draper, and her elderly relatives are played out. Exploring key scenes, we show how the companionship between children and the elderly is constructed as rewarding for both parties, yet as provocative and challenging rather than romantic and harmless. -
'You Only Like the Beginnings': Ordinariness of Sex and Marriage
'YOU ONLY LIKE THE BEGINNINGS' SQS 1–2/2015 Ordinariness of Sex and Marriage in Looking 36 Nicholas Manganas Queer/ View/Mirror Discussion : to seem to be something especially that by proposing to Megan, he had completely discarded Faye, a brilliant because of appearance1 professional woman who was Draper’s intellectual equal. Viewers are left to ponder what a relationship between Don and Faye would have entailed. In season four of AMC’s Mad Men (2007), Faye, one of Don Drapers’ Instead, Draper opts for the new, and we see him absolutely smitten with his discarded playthings utters: “I hope she knows you only like the beginnings new love. So when Faye cuts him down with “I hope she knows you only of things” (Henderson 2014). The scathing one-liner exposes the like the beginnings of things” we are forewarned that even the glamorous underlying selfishness of Don Draper and the kind of man he represents. Megan will too, one day, no longer be new. Draper’s fondness for “newness,” for new playthings, feeds an unending spiral of reckless consumption for men like himself who can have Mad Men’s audience implicitly knows that not all men can be Don Draper. something new, anytime, anyplace, whenever and wherever they may desire Don Draper is the pivotal centre of a male-driven universe where he, and it. The mysterious, handsome and debonair Don Draper, encapsulates the only he, has the luxury of being able to like “only the beginnings of things.” brilliant, driven ad man, in a seeming 1950s and 1960s male utopia, where What would a world look like where every man is Don Draper? Look no the supply of women willing and able to have sex with him is endless. -
Race, Religion, and Rights: Otherness Gone Mad Tracy Lucht Iowa State University, [email protected]
Journalism Publications Greenlee School of Journalism and Communication 2014 Race, Religion, and Rights: Otherness Gone Mad Tracy Lucht Iowa State University, [email protected] Follow this and additional works at: http://lib.dr.iastate.edu/jlmc_pubs Part of the Feminist, Gender, and Sexuality Studies Commons, Gender, Race, Sexuality, and Ethnicity in Communication Commons, History of Gender Commons, Journalism Studies Commons, Social History Commons, United States History Commons, and the Women's History Commons The ompc lete bibliographic information for this item can be found at http://lib.dr.iastate.edu/ jlmc_pubs/4. For information on how to cite this item, please visit http://lib.dr.iastate.edu/ howtocite.html. This Book Chapter is brought to you for free and open access by the Greenlee School of Journalism and Communication at Iowa State University Digital Repository. It has been accepted for inclusion in Journalism Publications by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. Race, Religion, and Rights: Otherness Gone Mad Abstract Inevitable yet often unnamed, the looming political radicalism of the late 1960s acts as something like a silent partner in the Mad Men narrative, relying on viewers' historical knowledge of the social tension outside Sterling Cooper to underscore the contrived nature of the world within it. Just as the series spans the period between the emergence of liberal and radical white feminist discourses, it also bridges key moments in the civil rights movement, from the boycotts, otv er registration drives, and sweeping oratory of the Rev. Martin Luther King, Jr., to the assassinations of civil rights leaders and activists; rioting in Watts nda other cities; and the emergence of a black power movement.