DOCSLIB.ORG

Moana and Pocahontas”

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Moana and Pocahontas” DIPLOMARBEIT / DIPLOMA THESIS Titel der Diplomarbeit / Title of the Diploma Thesis “The Indigenous Other in Disney's Moana and Pocahontas” verfasst von / submitted by Michael Hermann Hosp angestrebter akademischer Grad / in partial fulfilment of the requirements for the degree of Magister der Philosophie (Mag. phil.) Wien, 2019 / Vienna, 2019 Studienkennzahl lt. Studienblatt / A 190 344 313 degree programme code as it appears on the student record sheet: Studienrichtung lt. Studienblatt / Lehramtsstudium UF Englisch degree programme as it appears on UF Geschichte, Sozialkunde und Politische Bildung the student record sheet: Betreut von / Supervisor: Univ.-Prof. Dr. phil. Sarah Heinz Acknowledgements I would like to thank those who supported and motivated me while writing this thesis. I am particularly grateful to Univ.-Prof. Dr. phil. Sarah Heinz, my supervisor, for her valuable advice, encouragement and patience. I also wish to thank my parents, Dagmar and Gerhard, who supported me not only during the writing process of this thesis but throughout university and enabled me to pursue my studies. Finally, I would like to thank my friends for inspiring and motivating me. Table of Contents 1 Introduction .......................................................................................................... 1 2 Theoretical Framework ........................................................................................ 4 2.1 Imagology ...................................................................................................... 5 2.1.1 The Historical Development of Imagology .............................................. 5 2.1.2 The Tenets and Methodology of Imagology ............................................ 8 2.2 Stereotyping ................................................................................................ 10 2.2.1 The Characteristics of Stereotypes ....................................................... 10 2.2.2 The Functions of Stereotypes ............................................................... 11 2.3 Ethnotyping ................................................................................................. 13 2.4 Othering ....................................................................................................... 16 2.5 Indigeneity ................................................................................................... 19 3 Methods ............................................................................................................. 22 3.1 Film Analysis Model of Faulstich ................................................................. 22 3.2 Compositional Analysis ............................................................................... 23 4 Intertextual Analysis ........................................................................................... 27 4.1 The Representation of Native Americans in Western Discourses ............... 27 4.1.1.1 The Representation of Native Americans in Colonial America………………………………………………………………………………28 4.1.1.2 The Representation of Native Americans in Romantic American literature………………………………………………………………….30 4.1.1.3 The Representation of Native Americans in Popular Culture ......... 31 4.1.1.4 The Functions of the Representation of Native Americans for the Creation of American Identity .............................................................. 34 4.2 Representation of Polynesians in Western Discourses ............................... 37 4.2.1 Representation of Polynesians in the 18th Century ............................... 37 4.2.2 Representation of Polynesians in the 19th Century ............................... 38 4.2.3 Representation of Polynesians from the 20th Century to the Present .... 41 4.3 The Comparison of Native American and Polynesian Representations ...... 43 5 Film Analysis ...................................................................................................... 46 5.1 Plot Analysis ................................................................................................ 46 5.1.1 The Plot of Pocahontas ......................................................................... 46 5.1.2 The Plot of Moana ................................................................................. 47 5.2 Character Analysis ...................................................................................... 49 5.2.1 Characters in Pocahontas ..................................................................... 49 5.2.1.1 Pocahontas .................................................................................... 49 5.2.1.2 Chief Powhatan .............................................................................. 52 5.2.1.3 Kocoum .......................................................................................... 53 5.2.1.4 John Smith ..................................................................................... 53 5.2.1.5 Governor Ratcliffe .......................................................................... 54 5.2.2 Characters in Moana ............................................................................. 55 5.2.2.1 Moana ............................................................................................ 55 5.2.2.2 Maui................................................................................................ 58 5.2.2.3 Chief Tui ......................................................................................... 60 5.2.2.4 Gramma Tala ................................................................................. 61 5.3 Compositional Analysis ............................................................................... 62 5.3.1 Compositional Analysis of Pocahontas ................................................. 62 5.3.1.1 Introduction of the Native Americans .............................................. 62 5.3.1.2 Kocoum as ‘Ignoble Savage’ .......................................................... 66 5.3.2 Compositional Analysis of Moana ......................................................... 68 5.3.2.1 Introduction of the Villagers of Motunui .......................................... 68 5.3.2.2 The Kakamora as ‘Ignoble Savages’ .............................................. 74 5.4 Forms and Functions of Ethnotypes of the Indigenous Other in Moana and Pocahontas ........................................................................................ 77 5.4.1 Forms and Functions of Ethnotypes of the Indigenous Other in Pocahontas ........................................................................................................ 77 5.4.1.1 The Indigenous Other in Pocahontas Compared to Previous Traditions of Representation ........................................................................... 78 5.4.1.2 The Representation of the Cultural Encounter between Native Americans and the English ............................................................................. 82 5.4.2 Forms and Functions of Ethnotypes of the Indigenous Other in Moana…………………………………………………………………………………..85 5.4.2.1 The Construction of the Indigenous Other ...................................... 85 5.4.2.2 The Representation of the Environmental Crisis ............................ 89 6 Conclusion ......................................................................................................... 93 7 Bibliography ....................................................................................................... 98 List of Figures ……………………………………………………………………..…108 Appendix………………………………………………………………………………109 1 Introduction The Walt Disney Company has been producing entertainment for over 80 years and is among the most influential media companies reaching millions not only in the USA but globally (Ward 1; Dreier 244). The worldwide box office results of Moana (2016), for instance, amount to a total gross of $643.331.111 (“Moana” Box Office Mojo). Disney’s animations and cartoons do not merely tell delightful stories but shape expectations of how the world should be, regarding aspects ranging from the function of the family and expected gender-roles to ideas about social justice and conceptions of different cultures and ethnicities. Among Disney’s main audiences are children, who are especially susceptible to the values, norms and stereotypes transported by the company’s fairytales (Lippi-Green 104). Remarking on the tremendous impact of animated movies by Disney and other studios on children, Giroux goes so far as to argue that “these films inspire at least as much cultural authority and legitimacy for teaching specific roles, values, and ideals as more traditional sites of learning such as public schools, religious institutions, and the family” (84). Since Disney has such an extensive reach and enormous influence on shaping the worldview of its young audience, it is especially important to critically consider what messages these films convey, which I will proceed to do with regards to the representation of indigenous people. With my study, I follow in the footsteps of previous researchers, who have critically analyzed the messages transported by Disney movies (Ward; Fruzińska). The aspect of gender has been studied extensively (Streiff and Dundes; Limbach). In recent years, also the representation of race, ethnicity and culture has received much attention (Macleod; Lacroix; Di Giovanni) Following the release of Pocahontas (1995), numerous academics have focused on Disney’s representation of Native Americans (Naidu Parekh; Jhappan and Stasiulis). With
Load more

Recommended publications
  • Channel Lineup January 2018
    MyTV CHANNEL LINEUP JANUARY 2018 ON ON ON SD HD• DEMAND SD HD• DEMAND SD HD• DEMAND My64 (WSTR) Cincinnati 11 511 Foundation Pack Kids & Family Music Choice 300-349• 4 • 4 A&E 36 536 4 Music Choice Play 577 Boomerang 284 4 ABC (WCPO) Cincinnati 9 509 4 National Geographic 43 543 4 Cartoon Network 46 546 • 4 Big Ten Network 206 606 NBC (WLWT) Cincinnati 5 505 4 Discovery Family 48 548 4 Beauty iQ 637 Newsy 508 Disney 49 549 • 4 Big Ten Overflow Network 207 NKU 818+ Disney Jr. 50 550 + • 4 Boone County 831 PBS Dayton/Community Access 16 Disney XD 282 682 • 4 Bounce TV 258 QVC 15 515 Nickelodeon 45 545 • 4 Campbell County 805-807, 810-812+ QVC2 244• Nick Jr. 286 686 4 • CBS (WKRC) Cincinnati 12 512 SonLife 265• Nicktoons 285 • 4 Cincinnati 800-804, 860 Sundance TV 227• 627 Teen Nick 287 • 4 COZI TV 290 TBNK 815-817, 819-821+ TV Land 35 535 • 4 C-Span 21 The CW 17 517 Universal Kids 283 C-Span 2 22 The Lebanon Channel/WKET2 6 Movies & Series DayStar 262• The Word Network 263• 4 Discovery Channel 32 532 THIS TV 259• MGM HD 628 ESPN 28 528 4 TLC 57 557 4 STARZEncore 482 4 ESPN2 29 529 Travel Channel 59 559 4 STARZEncore Action 497 4 EVINE Live 245• Trinity Broadcasting Network (TBN) 18 STARZEncore Action West 499 4 EVINE Too 246• Velocity HD 656 4 STARZEncore Black 494 4 EWTN 264•/97 Waycross 850-855+ STARZEncore Black West 496 4 FidoTV 688 WCET (PBS) Cincinnati 13 513 STARZEncore Classic 488 4 Florence 822+ WKET/Community Access 96 596 4 4 STARZEncore Classic West 490 Food Network 62 562 WKET1 294• 4 4 STARZEncore Suspense 491 FOX (WXIX) Cincinnati 3 503 WKET2 295• STARZEncore Suspense West 493 4 FOX Business Network 269• 669 WPTO (PBS) Oxford 14 STARZEncore Family 479 4 FOX News 66 566 Z Living 636 STARZEncore West 483 4 FOX Sports 1 25 525 STARZEncore Westerns 485 4 FOX Sports 2 219• 619 Variety STARZEncore Westerns West 487 4 FOX Sports Ohio (FSN) 27 527 4 AMC 33 533 FLiX 432 4 FOX Sports Ohio Alt Feed 601 4 Animal Planet 44 544 Showtime 434 435 4 Ft.
    [Show full text]
  • CBS, Rural Sitcoms, and the Image of the South, 1957-1971 Sara K
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2013 Rube tube : CBS, rural sitcoms, and the image of the south, 1957-1971 Sara K. Eskridge Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Eskridge, Sara K., "Rube tube : CBS, rural sitcoms, and the image of the south, 1957-1971" (2013). LSU Doctoral Dissertations. 3154. https://digitalcommons.lsu.edu/gradschool_dissertations/3154 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. RUBE TUBE: CBS, RURAL SITCOMS, AND THE IMAGE OF THE SOUTH, 1957-1971 A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Sara K. Eskridge B.A., Mary Washington College, 2003 M.A., Virginia Commonwealth University, 2006 May 2013 Acknowledgements Many thanks to all of those who helped me envision, research, and complete this project. First of all, a thank you to the Middleton Library at Louisiana State University, where I found most of the secondary source materials for this dissertation, as well as some of the primary sources. I especially thank Joseph Nicholson, the LSU history subject librarian, who helped me with a number of specific inquiries.
    [Show full text]
  • Red and White on the Silver Screen: the Shifting Meaning and Use of American Indians in Hollywood Films from the 1930S to the 1970S
    RED AND WHITE ON THE SILVER SCREEN: THE SHIFTING MEANING AND USE OF AMERICAN INDIANS IN HOLLYWOOD FILMS FROM THE 1930s TO THE 1970s a dissertation submitted to Kent State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy by Bryan W. Kvet May, 2016 (c) Copyright All rights reserved Except for previously published materials Dissertation Written by Bryan W. Kvet B.A., Grove City College, 1994 M.A., Kent State University, 1998 Ph.D., Kent State University, 2015 Approved by ___Kenneth Bindas_______________, Chair, Doctoral Dissertation Committee Dr. Kenneth Bindas ___Clarence Wunderlin ___________, Members, Doctoral Dissertation Committee Dr. Clarence Wunderlin ___James Seelye_________________, Dr. James Seelye ___Bob Batchelor________________, Dr. Bob Batchelor ___Paul Haridakis________________, Dr. Paul Haridakis Accepted by ___Kenneth Bindas_______________, Chair, Department of History Dr. Kenneth Bindas ___James L. Blank________________, Dean, College of Arts and Sciences Dr. James L. Blank TABLE OF CONTENTS…………………………………………………………………iv LIST OF FIGURES………………………………………………………………………v ACKNOWLEDGEMENTS……………………………………………………………...vii CHAPTERS Introduction………………………………………………………………………1 Part I: 1930 - 1945 1. "You Haven't Seen Any Indians Yet:" Hollywood's Bloodthirsty Savages……………………………………….26 2. "Don't You Realize this Is a New Empire?" Hollywood's Noble Savages……………………………………………...72 Epilogue for Part I………………………………………………………………..121 Part II: 1945 - 1960 3. "Small Warrior Should Have Father:" The Cold War Family in American Indian Films………………………...136 4. "In a Hundred Years it Might've Worked:" American Indian Films and Civil Rights………………………………....185 Epilogue for Part II……………………………………………………………….244 Part III, 1960 - 1970 5. "If Things Keep Trying to Live, the White Man Will Rub Them Out:" The American Indian Film and the Counterculture………………………260 6.
    [Show full text]
  • WESTERN FILMS Page 1 of 20
    WESTERN FILMS Page 1 of 20 WESTERN FILMS Western Films or Westerns are the major defining genre of the American film industry, a nostaligic eulogy to the early days of the expansive, untamed American frontier (the borderline between civilization and the wilderness). They are one of the oldest, most enduring and flexible genres and one of the most characteristically American genres in their mythic origins. [The popularity of westerns has waxed and waned over the years. Their most prolific era was in the 1930s to the 1960s, and most recently in the 90s, there was a resurgence of the genre. This indigenous American art form focuses on the frontier West that existed in North America. Westerns are often set on the American frontier during the last part of the 19th century (1865-1900) following the Civil War, in a geographically western (trans-Mississippi) setting with romantic, sweeping frontier landscapes or rugged rural terrain. However, Westerns may extend back to the time of America's colonial period or forward to the mid-20th century, or as far geographically as Mexico. A number of westerns use the Civil War, the Battle of the Alamo (1836) or the Mexican Revolution (1910) as a backdrop. The western film genre often portrays the conquest of the wilderness and the subordination of nature, in the name of civilization, or the confiscation of the territorial rights of the original inhabitants of the frontier. Specific settings include lonely isolated forts, ranch houses, the isolated homestead, the saloon, the jail, the livery stable, the small-town main street, or small frontier towns that are forming at the edges of civilization.
    [Show full text]
  • Iptv Channel Guide • 1-877-666-4932
    OmniTelevision IPTV CHANNEL GUIDE www.omnitel.biz • 1-877-666-4932 High Def. Channels 370 MTV HD+ OmniTelevision 371 MTV2 HD+ 231 EVINE Live+ 372 NBC Sports HD+ 232 Home Shopping Network 373 Nickelodeon HD+ IPTV CHANNEL GUIDE (HSN)+ 374 QVC HD+ IPTV CHANNEL GUIDE 291 KYIN IPTV HD+ 375 Paramount Network HD+ www.omnitel.biz • 1-877-666-4932 292 KFXA HDTV+ (where available) 376www.omnitel.biz TV Land HD+ • 1-877-666-4932 88 Fox Sports 1 293 KGAN HDTV+ (where available)Omni377 VH1 HD+ Television OmniTelevision $67.95* 89 Golf Channel 294 KWWL 7.1 HD+ (where available) 378 Travel Channel HD+ 295 KWWL 7.2 HD+ (where available) 379 FSN HD+ (Fox Sports North) 2 (CBS) KGAN 90 Outdoor Channel 296 KCRG 9.1 HD+ (where available) 380 Oxygen HD+ (where available) 91 Discovery Life 297 KSMQ 15.1 HD+ (where available) 381 WGN HD+ 3 (CBS) KIMT 92 FXX 298 KXLT 47.2 HD+ (where available) 382 Women’s Entertainment (where available) 93 Fox Sports 2 299 CW HD+ (WE) HD+ 4 (KYIN) IA Public Television 110 Discovery 111 Animal Planet 300 KIMT (CBS) HD+ 383 Do It Yourself Network 5 (KIMT-DT2) My 3.2 IPTV (DIY) HD+ CHANNEL GUIDE (where available) (where available) 112 National Geographic 301 KAAL (ABC) HD+ 384 Hallmark Drama HD+ 6 (ABC) KAAL Austin 113 TLC www.omnitel.biz • 1-877-666-4932 302 KXLT (FOX) HD+ 386 BBC America HD+ 7 (NBC) KWWL 114 Food Network 303 KTTC (NBC) HD+ 387 BBC World News HD+ (where available) 115 Oprah Winfrey Network 304 ESPN HD+ 8 (FOX) KXLT Rochester (OWN) 305 ESPN2 HD+ OmniTelevision+ Premium 9 (ABC) KCRG 117 HGTV 306 Disney HD+ (where
    [Show full text]
  • Proquest Dissertations
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in fypewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor qualify illustrations and photographs, print bleedthrough. substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g.. maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher qualify 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road. Ann Artx>r, Ml 48106-1346 USA mvQ800-521-0600 CONESTOGA WAGONS TO THE MOON: THE FRONTIER, THE AMERICAN SPACE PROGRAM, AND NATIONAL IDENTITY DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Susan Landrum Mangus, B.A., M.A. ***** The Ohio State University 1999 Dissertation Committee: Apj^roved by Professor Michael J.
    [Show full text]
  • Programming for TV, Radio, and the Internet: Strategy, Development, and Evaluation
    Programming for TV, Radio, and the Internet: Strategy, Development, and Evaluation Philippe Perebinossoff Brian Gross Lynne S. Gross ELSEVIER Programming for TV, Radio, and the Internet Programming for TV, Radio, and the Internet Strategy, Development, and Evaluation Philippe Perebinossoff California State University, Fullerton Brian Gross EF Education, Jakarta, Indonesia Lynne S. Gross California State University, Fullerton AMSTERDAM · BOSTON · HEIDELBERG · LONDON NEW YORK · OXFORD · PARIS · SAN DIEGO SAN FRANCISCO · SINGAPORE · SYDNEY · TOKYO Focal Press is an imprint of Elsevier Acquisition Editor: Amy Jollymore Project Manager: Bonnie Falk Editorial Assistant: Cara Anderson Marketing Manager: Christine Degon Cover Design: Dardani Gasc Focal Press is an imprint of Elsevier 30 Corporate Drive, Suite 400, Burlington, MA 01803, USA Linacre House, Jordan Hill, Oxford OX2 8DP, UK Copyright © 2005, Elsevier Inc. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Permissions may be sought directly from Elsevier’s Science & Technology Rights Department in Oxford, UK: phone: (+44) 1865 843830, fax: (+44) 1865 853333, e-mail: [email protected] may also complete your request on-line via the Elsevier homepage (http://elsevier.com), by selecting “Customer Support” and then “Obtaining Permissions.” Recognizing the importance of preserving what has been written, Elsevier prints its books on acid-free paper whenever possible. Library of Congress Cataloging-in-Publication Data British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library.
    [Show full text]
  • RE-FRAMING the AMERICAN WEST: CONTEMPORARY ARTISTS ENGAGE HISTORY by © 2015 Mindy N. Besaw Submitted to the Graduate Degree Pr
    RE-FRAMING THE AMERICAN WEST: CONTEMPORARY ARTISTS ENGAGE HISTORY By © 2015 Mindy N. Besaw Submitted to the graduate degree program in the Kress Foundation Department of Art History and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. _______________________________ Co-chairperson, Charles C. Eldredge _______________________________ Co-chairperson, David C. Cateforis _______________________________ John Pultz ______________________________ Stephen Goddard ______________________________ Michael J. Krueger Date Defended: November 30, 2015 The Dissertation Committee for MINDY N. BESAW certifies that this is the approved version of the following dissertation: RE-FRAMING THE AMERICAN WEST: CONTEMPORARY ARTISTS ENGAGE HISTORY _______________________________ Co-chairperson, Charles C. Eldredge _______________________________ Co-chairperson, David C. Cateforis Date approved: November 30, 2015 ii Abstract This study examines contemporary artists who revisit, revise, reimagine, reclaim, and otherwise engage directly with art of the American Frontier from 1820-1920. The revision of the historic images calls attention to the myth and ideologies imbedded in the imagery. Likewise, these contemporary images are essentially a framing of western imagery informed by a system of values and interpretive strategies of the present. The re-framing of the historic West opens a dialogue that expands beyond the frame, to look at images and history from different angles. This dissertation examines twentieth- and twenty-first century artists such as the Cowboy Artists of America, Mark Klett, Tony Foster, Byron Wolfe, Stephen Hannock, Bill Schenck, and Kent Monkman alongside historic western American artists such as Frederic Remington, Charles M. Russell, Timothy O’Sullivan, Thomas Moran, W.R. Leigh, and Albert Bierstadt.
    [Show full text]
  • Jimmy Stewart War Record
    Jimmy Stewart War Record innumerably.polarizedMalignant so Wilmer stodgily. Stey fustigate and Pettifogging equivalve mazily Fredric whileTyrus Ozzie vulcanisingjugglings: always which dooms, mismake Farley he particulariseshis is fundamentalistbookworms his gabblings flingers enough? very rantingly, he Brooks was virtue in childhood lead, defusing mines as his comrades prepared to control forward. Stewart Hardware both in Pennsylvania. Though he desired to fly atop a combat pilot, he was never first used mostly for publicity. United States Air force Reserve. Take poison with You. AS A TEENAGER, I WAS PRESSED INTO SERVICE AS AN INTERPRETER pool THE JAPANESE AND AMERICANS DURING LIBERATION. There shall your evil befall thee, neither said any should come nigh thy dwelling. The Facebook page where they post appears, more walk less, tells the stories of purchase service members who is done extraordinary things during wartime. Improve performance and speed. He was awarded a Distinguished Flying Cross feed the mission. Among the medals, he was awarded were two Distinguished Flying Crosses and the Croix de Guerre. As a brat growing chain on SAC bases, I loved the times my layout would draft me down shut the flightline. Major Stewart had been promoted. User or password incorrect! Jimmy Stewart's Biography The Jimmy Stewart Museum. Electronic Army Serial Number Merged File, ca. Wonderful Life than a life member! Rather people take a victory lap, back was bedridden with a nervous breakdown. Add but Be Amazed. Be called mission out jimmy stewart had nowhere to the father of these trials himself considered for anyone could have. He added that even though angry did it always enact his performances, he for not get discouraged.
    [Show full text]
  • Genre Revision Definitions of Genre Z Genres Are, First and Foremost, Identified in Terms of Familiar, Codified, Conventionalised and Formulaic Story Structures
    Genre Revision Westerns Definitions of Genre z Genres are, first and foremost, identified in terms of familiar, codified, conventionalised and formulaic story structures. z Plot action is a main focus of genres z The answer to the question, • What fictional genre is this? • is given by a key term which figures the line of plot action to be found in the particular story, as in mystery or thriller or horror or family melodrama. Character z Generic fictions are also associated with highly conventionalized characters: detectives or gangsters, Westerners or lovers-on-the-run. z Genre characters are identified functionally, in terms of their role in a particular story structure, rather than psychologically. z Story is the main focus of genre. z They are fictions of easy access, not usually the sort to make many demands on the reader’s or viewer’s breadth of cultural knowledge. z However, genre films do make demands on the audience’s knowledge of other genres, and the sorts of story patterns that are to be associated with the particular generic category of the text in question. Problems of Definition z 'To take a genre such as the "western", analyse it, and list its principal characteristics, is to beg the question that we must first isolate the body of films which are "westerns". z ‘But they can only be isolated on the basis of the "principal characteristics" which can only be discovered from the films themselves after they have been isolated' (Tudor, 1974). Audiences z 'For a type to be successful means that its conventions have imposed themselves upon the general consciousness and become the accepted vehicles of a particular set of attitudes and a particular aesthetic effect.
    [Show full text]
  • Standard TV Channel Guide AUGUST 2018 HD at Its Best • Video on Demand • TV Everywhere
    Standard TV Channel Guide AUGUST 2018 HD at its Best • Video On Demand • TV Everywhere www.cincinnatibell.com/fioptics BASIC SD HD• VOD CLASSIC SD HD• VOD SD HD• VOD ABC (WCPO) Cincinnati . 9 509 4 A&E . 36. 536 4 TLC . 57. 557 4 AntennaTV . 257• AMC . 33 . 533 4 TNT . 40 540 4 4 4 Beauty iQ . 637 . Animal Planet . 44 . 544 Travel Channel . .59 559 4 Bounce TV . 258• BBC America . 267 . • 667 truTV . 39 . 539 4 C-Span . 21. Big Ten Network . 206• 606 USA . 42. 542 Big Ten Overflow Network . 207• Z Living . 636. C-Span 2 . .22 . BRAVO . 56 556 4 CBS (WKRC) Cincinnati . 12. 512 4 SD HD• VOD Cartoon Network . 46 546 4 PREFERRED 4 COZI TV . .290 . • CNBC . 65 . 565 BET . 72 572 4 Escape . 8, 271• CNN . 67 . 567 4 CMT . 74 . 574 4 EVINE Too . 246• Cooking Channel . .63 . 563 4 Comedy Central . .69 . 569 4 EWTN . 97, . 264•7 Discovery Channel . 32 532 4 MTV . 71 . 571 4 Fioptics TV . 100 . • Discovery Family . 48 548 4 Nickelodeon . 45 . 545 4 FOX (WXIX) Cincinnati . 3. 503 4 Disney . 49 549 4 Paramount Network . 70 570 4 4 GET TV . 292. • Disney Jr . 50 550 TV Land . .35 . 535 4 VH1 . 73. 573 4 GRIT . 242 . • DIY Network . 61. 561 E! . 58 558 4 HSN . 4. .504 ELITE• SD HD• VOD ESPN . 28 528 4 INSP . 506 American Heroes . 277. 677 4 ESPN2 . 29. 529 JewelryTv . .2 . 502 BBC World . .266 . 666 ESPNews . .30 . 530 BET Soul . 256 Justice Central TV .
    [Show full text]
  • Coversheet for Thesis in Sussex Research Online
    A University of Sussex DPhil thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details NNoo CCrriinnoolliinnee--CCoovveerreedd LLaaddyy:: SSttaarrddoomm,, AAggeennccyy,, aanndd tthhee CCaarreeeerr ooff BBaarrbbaarraa SSttaannwwyycckk Linda Berkvens DPhil thesis submitted to the University of Sussex March 2011 1 I hereby declare that this thesis has not been and will not be, submitted whole or in part to another University for the award of any other degree. Signature:………………………………………………………………………………………. 2 Acknowledgements I am grateful to the following people for all their support, feedback, and encouragement: Dr. Frank Krutnik, Dr. Thomas Austin, Dr. Michael Hammond, Dr. Niall Richardson, my PhD- buddy Rosemary Shirley, Sharif Mowlabocus, the DPhil student organizers of the MeCCSA Postgraduate Conference 2008, Constance McCormick-Van Wyck, Jenny Romero at the Margaret Herrick Library, Sandra Joy Lee and Jonathan Auxier at the Warner Bros. Archives, Ned Comstock at the Cinematic Arts Library and Dace Taube at the Regional History Center at the University of Southern California, staff at the BFI, University of Sussex Library and Special Collections, Paley Center in New York and Los Angeles, EYE Film Instituut Nederland library, my DPhil friends in the School of Media, Film, and Music, Nick Till, Sarah Maddox, Tamar Jeffers McDonald, Martin Shingler, Kate & Rachel, Charlotte, and Willemijn.
    [Show full text]