...Laura Mulvey theorises that visual pleasure in the mainstream cinema is largely founded upon a male gaze that fetishises the female body and positions the male spectator voyeuristically in relation to the film. To what extent you agree with this hypothesis? The ‘Male Gaze’ is a term that refers to instances in film, where the audience view a scene through the perspective of a heterosexual man. For example, a scene that focuses on a woman’s curves and these features are accentuated in some way, such as, purposeful camera movements or through the use of slow motion and/or cut-aways. The term was first coined by Laura Mulvey in her article “Visual pleasure and Narrative cinema”. In this article, Mulvey advocates that the use of the Male Gaze in films, causes women to only be admired for their physical appearance and therefore relegates women to the stature of objects, refusing them human identity. She demonstrates this by using film examples that infer a female’s existence in the film world is only in relation to the male, that she has no real importance, besides how she makes the male feel or act. Mulvey states female characters only serve two roles in a narrative: 1) As an erotic object for the characters within the narrative to view, and 2) As an erotic object for the spectators with the cinema to view. They tend to slow the narrative down; they give men inspiration to act, they are considered passive. Where as male characters push the narrative forwards making events happen...
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...UNIVERSAL PICTURES and EMMETT / FURLA FILMS Present A MARC PLATT Production In Association with OASIS VENTURES ENTERTAINMENT LTD / ENVISION ENTERTAINMENT / HERRICK ENTERTAINMENT / BOOM! STUDIOS A BALTASAR KORMÁKUR Film PAULA PATTON BILL PAXTON JAMES MARSDEN FRED WARD and EDWARD JAMES OLMOS Executive Producers BRANDT ANDERSEN JEFFREY STOTT MOTAZ M. NABULSI JOSHUA SKURLA MARK DAMON Produced by MARC PLATT RANDALL EMMETT NORTON HERRICK ADAM SIEGEL GEORGE FURLA ROSS RICHIE ANDREW COSBY Based on the BOOM! Studios Graphic Novels by STEVEN GRANT Screenplay by BLAKE MASTERS Directed by BALTASAR KORMÁKUR –1– CAST Waitress Margie . . . . . . . . . . . . . . . . . . . . . LINDSEY GORT Roughneck #2 . . . . . . . . . . . . . . . . . HILLEL M. SHARMAN Robert “Bobby” Trench . . . . . . . . . DENZEL WASHINGTON Roughneck #3 . . . . . . . . . . . . . . . . . . . . . . . . AARON ZELL Marcus “Stig” Stigman . . . . . . . . . . . . MARK WAHLBERG Roughneck #4 . . . . . . . . . . . . . . . . . . . . . . . HENRY PENZI Deb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PAULA PATTON CREW Earl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BILL PAXTON Admiral Tuwey . . . . . . . . . . . . . . . . . . . . . . . FRED J. WARD Quince . . . . . . . . . . . . . . . . . . . . . . . . . . JAMES MARSDEN Directed by . . . . . . . . . . . . . . . . . BALTASAR KORMÁKUR Papi Greco . . . . . . . . . . . . . . . . . EDWARD JAMES OLMOS Screenplay by . . . . . . . . . . . ...
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...women have never been married and are "independent" because they focus on achievement, often waiting too long to compete for the small number of black men who are equal in status (Johnson, 2010). In the video, she asserts that independent women do not need a pat on the back for doing what grownups are supposed to do: pay their bills, buy houses and cars, etc. She adds that independence discourages relationships as people begin to believe they can do everything alone, so they do not need a mate. Mia Moody, PhD, is a professor of journalism at Baylor University. She is the author of Btack and Mainstream Press' Framing of Raciat Profiling: A Historical Perspective. She teaches courses in public relations, minorities and women in the media and reporting. Acknowledgements: I would like to thank students, Courtney Webb, Jessica Foumena, and Chelsea Quackenbush, for helping me research this important topic. 187 188 ETC • A PRIL 2011 Portis' depiction of...
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...University of Tennessee, Knoxville Trace: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 12-2009 Peeking Out: A Textual Analysis of Heteronormative Images in Prime-Time Television D. Renee Smith University of Tennessee - Knoxville, drsmith@utk.edu Recommended Citation Smith, D. Renee, "Peeking Out: A Textual Analysis of Heteronormative Images in Prime-Time Television. " PhD diss., University of Tennessee, 2009. http://trace.tennessee.edu/utk_graddiss/10 This Dissertation is brought to you for free and open access by the Graduate School at Trace: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of Trace: Tennessee Research and Creative Exchange. For more information, please contact trace@utk.edu. To the Graduate Council: I am submitting herewith a dissertation written by D. Renee Smith entitled "Peeking Out: A Textual Analysis of Heteronormative Images in Prime-Time Television." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Doctor of Philosophy, with a major in Communication and Information. Catherine A. Luther, Major Professor We have read this dissertation and recommend its acceptance: Michelle T. Violanti, Suzanne Kurth, Benjamin J. Bates Accepted for the Council: Carolyn R. Hodges Vice...
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... 2. The Issue: Employee Relations and Workers’ Rights…………………9 3. Opposition…………………………………………………………….10 3.1 Labor Union-Funded Groups…………………………………………...11 3.2 Gender Discrimination………………………………………………….12 3.3 Wal-Mart: The High Cost of Low Price……………………………………..13 4. Wal-Mart’s Response……………………………………………………15 4.1 Response to Labor Union-Backer Groups………………………………...16 4.2 Response to Gender Discrimination Lawsuit……………………………..17 4.3 Response to Greenwald’s Film……………………………………………18 4.4 Wal-Marting Across America: Jim and Laura’s Blog…………………….18 4.5 Corporate Social Responsibility…………………………………………..20 5. Did Wal-Mart Wake Up?..........................................................................21 2 Introduction Starting off with Sam Walton’s idea of low prices in the 1940s, Wal-Mart has since then become the world’s largest public corporation, topping the list of Fortune’s Global 500 for...
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... 2. The Issue: Employee Relations and Workers’ Rights…………………9 3. Opposition…………………………………………………………….10 3.1 Labor Union-Funded Groups…………………………………………...11 3.2 Gender Discrimination………………………………………………….12 3.3 Wal-Mart: The High Cost of Low Price……………………………………..13 4. Wal-Mart’s Response……………………………………………………15 4.1 Response to Labor Union-Backer Groups………………………………...16 4.2 Response to Gender Discrimination Lawsuit……………………………..17 4.3 Response to Greenwald’s Film……………………………………………18 4.4 Wal-Marting Across America: Jim and Laura’s Blog…………………….18 4.5 Corporate Social Responsibility…………………………………………..20 5. Did Wal-Mart Wake Up?..........................................................................21 2 Introduction Starting off with Sam Walton’s idea of low prices in the 1940s, Wal-Mart has since then become the world’s largest public corporation, topping the list of Fortune’s Global 500 for...
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... 2. The Issue: Employee Relations and Workers’ Rights…………………9 3. Opposition…………………………………………………………….10 3.1 Labor Union-Funded Groups…………………………………………...11 3.2 Gender Discrimination………………………………………………….12 3.3 Wal-Mart: The High Cost of Low Price……………………………………..13 4. Wal-Mart’s Response……………………………………………………15 4.1 Response to Labor Union-Backer Groups………………………………...16 4.2 Response to Gender Discrimination Lawsuit……………………………..17 4.3 Response to Greenwald’s Film……………………………………………18 4.4 Wal-Marting Across America: Jim and Laura’s Blog…………………….18 4.5 Corporate Social Responsibility…………………………………………..20 5. Did Wal-Mart Wake Up?..........................................................................21 2 Introduction Starting off with Sam Walton’s idea of low prices in the 1940s, Wal-Mart has since then become the world’s largest public corporation, topping the list of Fortune’s Global 500 for...
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...are far from heroic. An idealism that is motivated by interventionism in a Third World country's affairs can be dangerous and destructive, not only in the way Graham Greene saw it in the early fifties, but as history proved it by the events that unfolded years later, leading to the US war in Viet Nam. Or for what is happening now in Iraq, if you will. Fowler had the "old colonialist" wisdom that questioned Pyle's justification for violence. He had already learned that "democracy" is something many countries neither understand nor want, and any foreign attempt to impose it is doomed to failure. I don't know that this helps, but I can't see the novel any other way. | | Outline of characters | Thomas Fowler is a British journalist in his fifties who has been covering the French war in Viet Nam for over two years. He meets a young American idealist named Alden Pyle, who is a student of York Harding. Harding's theory is that neither Communism nor colonialism are the answer in foreign lands like Viet Nam, but rather a "Third Force," usually a combination of traditions, works best. Unlike most Americans, Pyle is thoughtful and soft-spoken. Fowler finds him naïve. Alden Pyle is the "quiet American" of the title. He is the opposite of a stereotypical American abroad: the loud obnoxious American in a Hawaiian shirt with a camera....
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...Present THE STONING OF SORAYA M. Directed by CYRUS NOWRASTEH Starring SHOHREH AGHDASHLOO MOZHAN MARNÒ and JIM CAVIEZEL Written by BETSY GIFFEN NOWRASTEH & CYRUS NOWRASTEH Based on the book “The Stoning of Soraya M.” by FREIDOUNE SAHEBJAM Rated R for a disturbing sequence of cruel and brutal violence, and brief strong language 114 Minutes NY PUBLICITY: Lina Plath/Clare Anne Darragh Frank PR 99 John St., #225 New York, NY 10038 Tel: 646-861-0843 Lina@frankpublicity.com ClareAnne@frankpublicity.com LA PUBLICITY: Fredell Pogodin/Bradley Jones Fredell Pogodin & Associates 7223 Beverly Blvd., Suite 202 Los Angeles, CA 90036 Tel: 323-931-7300 pr@fredellpogodin.com ROADSIDE ATTRACTIONS: Veronica Bufalini/Meghann Burns Roadside Attractions 7920 Sunset Blvd. #402 Los Angeles, CA 90046 Tel: 323-882-8490 VeronicaB@roadsideattractions.com MeghannB@roadsideattractions.com For publicity materials, please visit: www.roadsideattractionspublicity.com Official Website: www.thestoning.com THE STONING OF SORAYA M. ABOUT THE FILM In a world of secrecy, corruption and injustice, a single courageous voice can tell a true story that changes everything. This is what lies at the heart of the emotionally charged experience of THE STONING OF SORAYA M. Based on an incredible true story, this powerful tale of a village’s persecution of an innocent woman becomes both a daring act of witness and a compelling parable about mob rule. Who will join forces with the plot against her, who will...
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...Leader, Representative Tom De Lay. After his speech, De Lay was joined on stage by Lee Hamel dressed as Davy Crockett in full buckskin attire and a coonskin hat. Hamel presented De Lay with a handcrafted flintlock rifle that he had made for the event with his mentor, Cecil Brooks. The presentation of the reproduction rifle to De Lay is part of a long NRA tradition that began in 1955 when Walt Disney‟s Davy Crockett series first appeared on television. When Charlton Heston received his handcrafted flintlock rifle in 1989, he uttered his famous words, “From my cold dead hands.” President Ronald Reagan and Vice President Dick Cheney also joined the list of those who received facsimile Davy Crockett flintlock rifles from a man dressed in Crockett buckskin attire. This tradition is part of the NRA‟s efforts to represent the gun as a key instrument in the founding of the United States. It secured this ideological representation in part by appropriating the mythology of early American heroes like Davy Crockett. Davy Crockett became emblematic of the gun mythology of early American life. This mythology was synergized by the NRA and popularized through children‟s television to promote a conception of the role of the gun in American cultural history consistent with its political agenda. Through children‟s television, Davy Crockett became an iconic figure for the promotion of the American gun craze. The NRA‟s reliance on the media to support its political agenda is not remarkable...
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... 1851 – November 8, 1887) was an American gambler, gunfighter and dentist of the American Old West, who is usually remembered for his friendship with Wyatt Earp and his involvement in the Gunfight at the O.K. Corral. Early life and education "Doc" Holliday was born in Griffin, Georgia, to Henry Burroughs Holliday and Alice Jane Holliday (née McKey).[1] His father served in the Mexican–American War and the Civil War.[2] His family baptized him at the First Presbyterian Church in 1852.[3] In 1864 his family moved to Valdosta, Georgia.[3] Holliday's mother died of tuberculosis on September 16, 1866, when he was 15 years old.[1] Three months later his father married Rachel Martin. While in Valdosta, he attended the Valdosta Institute,[3] where he received a strong classical secondary education in rhetoric, grammar, mathematics, history, and languages – principally Latin, but also French and some Ancient Greek.[3] Autographed photo of Holliday taken in 1879 in Prescott, Arizona [4] In 1870, the 19-year-old Holliday left home to begin dental school in Philadelphia. On March 1, 1872, he received the degree of Doctor of Dental Surgery from the Pennsylvania College of Dental Surgery.[1] Later that year, he opened a dental office with Arthur C. Ford in Atlanta,[4] where he lived with his uncle and his family while beginning his career as a dentist.[5]...
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...animal Books by Elliot Aronson Theories of Cognitive Consistency (with R. Abelson et al.), 1968 Voices of Modern Psychology, 1969 The Social Animal, 1972, 1976, 1980, 1984, 1988, 1992, 1995, 1999, 2004; (with J. Aronson), 2008 Readings About the Social Animal, 1973, 1977, 1981, 1984, 1988, 1992, 1995, 1999, 2004; (with J. Aronson), 2008 Social Psychology (with R. Helmreich), 1973 Research Methods in Social Psychology (with J. M. Carlsmith & P. Ellsworth), 1976 The Jigsaw Classroom (with C. Stephan et al.), 1978 Burnout: From Tedium to Personal Growth (with A. Pines & D. Kafry), 1981 Energy Use: The Human Dimension (with P. C. Stern), 1984 The Handbook of Social Psychology (with G. Lindzey), 3rd ed., 1985 Career Burnout (with A. Pines), 1988 Methods of Research in Social Psychology (with P. Ellsworth, J. M. Carlsmith, & M. H. Gonzales), 1990 Age of Propaganda (with A. R. Pratkanis), 1992, 2000 Social Psychology, Vols. 1–3 (with A. R. Pratkanis), 1992 Social Psychology: The Heart and the Mind (with T. D. Wilson & R. M. Akert), 1994 Cooperation in the Classroom: The Jigsaw Method (with S. Patnoe), 1997 Nobody Left to Hate: Teaching Compassion After Columbine, 2000 Social Psychology: An Introduction (with T. D. Wilson & R. M. Akert), 2002, 2005, 2007 The Adventures of Ruthie and a Little Boy Named Grandpa (with R. Aronson), 2006 Mistakes Were Made (But Not By Me) (with C. Tavris), 2007 Books by Joshua Aronson Improving Academic Achievement, 2002 The Social Animal To...
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...Mighty Lion/Once upon a Time in China and America, 1997), Master Huang Fei-hong (Jet Li Linjie) travels to the Wild West to visit an American branch of the Po Chi Lam Clinic set up by his student Sol. During the journey, he bangs his head against a rock in a turbulent stream and loses his memory. He is rescued by a friendly tribe of Indians. Moments before we see Huang again, an Indian emerges from a tepee proudly announcing the birth of a child. When Huang recovers, he stumbles around in the Indian camp wearing an Indian costume, and his loose unbraided hair is flowing like an Indian’s. After using his martial arts prowess to defeat a hostile Indian, who ironically mouths racist American platitudes against the outsider—”His clothing is different, his skin color is different, his speech is different”—Huang is adopted into the tribe and given the name “Yellow.” Before this, he attempts to remember events of the recent past. But his vague recollections reveal images reproducing culturally blurred boundaries paralleling his sense of ethnic and geographic displacement. During the recent past of his stagecoach journey through America, Aunt Yee/Thirteenth Aunt/Shishanyi (Rosamund Kwan Chi-lam) had taught him English while Seven/Club Foot (Xong Xin-xin) watched Huang. Club Foot then expresses his yearning for a traditional bowl of Chinese rice...
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...Resources for Teaching Prepared by Lynette Ledoux Copyright © 2007 by Bedford/St. Martin’s All rights reserved. Manufactured in the United States of America. 2 1 f e 0 9 d c 8 7 b a For information, write: Bedford/St. Martin’s, 75 Arlington Street, Boston, MA 02116 (617-399-4000) ISBN-10: 0–312–44705–1 ISBN-13: 978–0–312–44705–2 Instructors who have adopted Rereading America, Seventh Edition, as a textbook for a course are authorized to duplicate portions of this manual for their students. Preface This isn’t really a teacher’s manual, not, at least, in the sense of a catechism of questions and correct answers and interpretations. Because the questions provided after each selection in Rereading America are meant to stimulate dialogue and debate — to generate rather than terminate discourse — they rarely lend themselves to a single appropriate response. So, while we’ll try to clarify what we had in mind when framing a few of the knottier questions, we won’t be offering you a list of “right” answers. Instead, regard this manual as your personal support group. Since the publication of the first edition, we’ve had the chance to learn from the experiences of hundreds of instructors nationwide, and we’d like to use this manual as a forum where we can share some of their concerns, suggestions, experiments, and hints. We’ll begin with a roundtable on issues you’ll probably want to address before you meet your class. In the first section of this manual, we’ll discuss approaches to...
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...Media History Contents 1 Introduction 1.1 Mass media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.1.1 1.1.2 1.1.3 1.1.4 1.1.5 1.1.6 1.1.7 1.1.8 1.1.9 Issues with definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Forms of mass media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Purposes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Professions involving mass media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Influence and sociology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ethical issues and criticism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Future . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 1 1 2 6 6 7 8 10 10 10 10 11 11 12 12 12 12 16 16 17 17 17 17 17 17 18 19 20 21 21 21 1.1.10 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.1.11 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.1.12 Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.1.13 External links . . . . . . . . ....
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