| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "BLACK WOMEN EARLY TELEVISION": |
|
|
Black Women on Early Television, 2004.
Examines the roles that black women played in the early era of television.
2,246 words (approx. 9.0 pages), 7 sources, MLA, $ 69.95
»
Click here to show/hide summary
Abstract
This paper discusses the negative roles that black women played in the early days of television. The paper takes a look at how, in the early days of television, the roles of black women were limited to playing mammies; it then takes a look at the roles of black women that were labeled as being too white. Additionally, the paper examines the stereotypical roles that were portrayed on television throughout the 70s. The paper begins with a brief discussion and synopsis of the types of roles that black people played on television and how it affected the way they were treated in everyday life.
From the Paper
"As we can see from the aforementioned research, during the early era of television Blacks played very limited roles. These roles were not an accurate depiction of Black people or Black life. The perpetuation of these images was controlled by White producers and writers and Black actors were forced to choose between having a job and not playing roles that propagated stereotypes of Black people. Many people were opposed to the images that they saw on television and these images have been studied and scrutinized in the years since these images were first seen."
| |
|
Women in Television Drama, 2000.
This paper analyzes research investigating the portrayal of women in daytime and prime-time television drama from the early 1970s to the 1990s.
5,415 words (approx. 21.7 pages), 22 sources, APA, $ 133.95
»
Click here to show/hide summary
Abstract
This paper reports that research findings indicate, especially in the 1970s, that women were under-represented and constrained to the narrow mold of housewives and mothers, both in daytime and prime-time television drama. The author points out that the women's movement has had a noticeable effect on the depiction of women; however, there are still traits of under-representation of woman, even in the 1990s and 2000s. The paper relates that researchers disagree as to whether the daytime portrayal of women is relatively more positive in daytime drama than in prime-time drama; however, the researchers do concur that, in both these time periods, women are portrayed as being incompetent in keeping the patriarchal system from interfering with their lives. The paper includes many quotations several of which are embedded in the text.
Table of Contents:
Introduction
The Early 1970's
A Turning Point: Cagney and Lacey
Discussion
Conclusion
From the Paper
"With the overt manifestations of women's movement, questioning conventional cultural perceptions of femininity in various spheres such as labor, family, sexuality and economy, prime-time network television began its quest to respond to these new discourses. In the late 1970s, prime-time television "was generating portrayals of women that drew-in various ways and to varying degrees-on the new feminist consciousness, particularly that of the U.S. liberal women's movement." "Cagney and Lacey" provided a sharp contrast to the conventional images of women on television and met the multidimensional character imposed by the woman movement's discourses."
| |
|
Women's Portrayal on Television, 2002.
A look at African American women and television roles.
2,400 words (approx. 9.6 pages), 5 sources, $ 89.95
»
Click here to show/hide summary
Abstract
This paper examines contemporary portrayals of women on television with particular attention to women of colour. This paper sets the stage for Hollywood's portrayal of women by briefly considering sit-coms. Then the discussion shifts to portrayals of minority women on television.
| |
|
Portrayal of Overweight vs. Thin Women in American Television Series, 2003.
Compares how overweight and thin women are portrayed on American television series. Cites "Everybody Loves Raymond," "The Drew Carey Show" and "The Parkers."
1,127 words (approx. 4.5 pages), 3 sources, MLA, $ 39.95
»
Click here to show/hide summary
Abstract
This paper focuses on how overweight women are portrayed in American television, stressing the comical roles in which unattractive women are cast. While thin, attractive women are prevailing with more dominant, powerful roles, overweight female characters are cast in demeaning roles. Given the dominant role allows an attractive woman to address important women's issues, where her overweight counterpart is often cast in roles that confine her to the undesirable stereotype of of the pushy, nosy, nit-picker.
From the Paper
"Over the past few years, actresses have found themselves in greater positions of freedom with regards to the roles open and offered to them. Women are prevailing in television with more dominant, powerful roles and given a chance to address issues that concern the female public. However, it is usually the younger, thin women who get to stretch the limits of society. They get to explore roles of sexual and personal liberation. Thin women are shown as holding high positions in the economic world as well as having the ability to attract many men. For the most part, their older, overweight counterparts are still confined to roles that portray them as intrusive busybodies. When they push these attitudes beyond the normal social expectations, they become the joke of other characters and must then deal with their ridicule. Overweight female characters in sitcoms are demeaned and made fun of by other characters in the show. They are often characterized by overly flamboyant clothes, makeup and personalities, and as a result the other characters show a slight fear of them. These roles are especially prevalent in the evening situational comedies that one might watch."
| |
|
Women on Television, 2001.
Analysis of changing role of women & media portrayals; societal impact; distorted images of women on TV. Examples of TV shows.
2,025 words (approx. 8.1 pages), 6 sources, $ 71.95
»
Click here to show/hide summary
From the Paper
"The role of women on television has changed over the history of the medium, reflecting changes in the society over the same period. Social roles for women have changed since World War II. Media portrayals of women have been criticized for some time, and television in particular is seen as distorting many facets of American life in pursuit of commercial interests. Movies are accused of ignoring women more and more in our mass culture, and advertising in magazines and newspapers is seen as presenting a distorted view of women in particular, using them as sex objects to sell products. Television is perhaps our most immediate mass medium, entering our homes 24 hours a day, and the image of women on television has a particular power. By the 1970s, women's roles were changing form the more traditional to a somewhat different emphasis on..."
| |
|
Women On Television, 1999.
Examines the changing portrayals and roles of women in programming and advertising and the negative socializing effects on children.
1,800 words (approx. 7.2 pages), 8 sources, $ 63.95
»
Click here to show/hide summary
Abstract
The nature of the relationship between women and the mass media has been considered in recent years by sociologists and psychologists as well as media critics, in part based on a concern that the way women are portrayed in the media has a deleterious effect on the way women are viewed in society at large.
From the Paper
"The nature of the relationship between women and the mass media has been considered in recent years by sociologists and psychologists as well as media critics, in part based on a concern that the way women are portrayed in the media has a deleterious effect on the way women are viewed in society at large. Women's roles in society have been changing through the determined efforts of feminists and sympathetic political groups over the past two decades, and some of these changes are clearly reflected on television, in film, and in other media portrayals. At the same time, it is evident that progress in changing media portrayals is behind the curve as far as the degree of equality that should be depicted, the roles given to women in the media, and the roles women play behind the scenes in the media as well. An examination of the portrayal of women in the mass media will ..."
| |
|
The Depiction of Women in 1950s Television Sitcoms, 2000.
A look at the extent to which the role of women in 1950s TV sitcoms is a parallel of popular culture of the time.
2,440 words (approx. 9.8 pages), 10 sources, $ 74.95
»
Click here to show/hide summary
Abstract
This paper looks at the images of women that were portrayed in 1950s TV sitcoms and examines to what extent these images give us an insight into popular culture of the time.
From the Paper
"The most stereotypical portrayals of gender are spread through communication media, especially television. Often, trends in television give us insight into the shifting meanings of gender in popular culture. For example, television in the fifties portrayed a wonderful world of perfect homes in a perfect America. In this world the mothers never worked, the families were happy, and problems were always solved within a half hour. Women had a clearly defined, fixed role, says Spigel, ?The essential function of women was that of caretaker, mother, and sexual partner. The domestic woman needed to save her energy for housekeeping, childrearing, and an active (monogamous) sex life with her husband?
| |
|
Blacks On Television, 1995.
Examines the changing roles of African-Americans in comedies, dramas, police shows from the 1950s-1990s.
2,250 words (approx. 9.0 pages), 6 sources, $ 79.95
»
Click here to show/hide summary
From the Paper
"For much of television's early years, the America reflected on the screen was a nation of white faces, with only a few black faces tossed in, usually in menial occupations such as janitor, elevator operator, and so on. A look at the range of black roles on television today shows that much has changed and that the America reflected on screen today is more like the real America, with blacks and whites in all walks of life. This is not to sa that there are no problems or that blacks are accorded fully equal treatment, but it is clear that portrayals of blacks on television have changed greatly over the last four decades both in number and substance. Some of the changes have been seen as good, and others have been seen as not so good. Even the good changes have been seen as existing within a relatively narrow spectrum that still sets blacks apart on television, relegating ..."
| |
|
Early German vs. Early Russian Filmmaking, 2004.
This paper discusses early German vs. early Russian filmmaking
in terms of a controlled versus an uncontrolled narrative perspective.
980 words (approx. 3.9 pages), 6 sources, APA, $ 34.95
»
Click here to show/hide summary
Abstract
This paper explains that the primary difference between the early Russian films of the first half of the 20th century and the German Expressionist movement, whose films exemplify an artistic ethos, is the significance given to narrative and to expressing a singular and coherent ideology for the viewer. The author points out that, in the case of Russian filmmakers such as Eisenstein, the narrative and descriptive sequences of the film are manipulated over the course of the film to invest particular images and aspects of the film with great importance. The paper relates that the German cinema creates a more ambiguous sense of meaning within its choice frames; the visual, rather than the story-based aspects of the film?s shot and the film?s overall plot arc, have greater significance.
From the Paper
"The greater emphasis on narrative within early Russian cinema also is evidenced in the way that the Russian directors, most notably Eisenstein, create meaning between frames of narrative, rather than within frame in a miens-en-scene approach. In this approach, the meaning of a single scene has a meaning in and of itself and can be invested with different meanings outside of the filmed narrative sequence. For instance, ?Potemkin? makes use of what is known as a dialectic montage, or a composition of rapidly evolving scenes, too rapid for the viewer?s eye simply to apprehend just one. The composition and the apprehension of scenes all at once creates a singularity of emotion and intent regarding the action, as opposed to a sustained scene where the viewer is able to consider the image and come to his or her own conclusion regarding the events that are transpiring. Miens-en-scene or middle of the scene approach became very popular in postmodernist and post-structuralism critiques and film analysis. Even the most impressionist examples of Russian cinema, such as the ?Man with a Movie Camera,? have a highly ideological and uniform tone, that of the glory of Russia, in sequences where seemingly unrelated images are created."
| |
|
Qumran, Early Christians, and Early Rabbinic Judaism, 1999.
Examines these three major religious groups, major beliefs and the use of canonical scripture.
3,150 words (approx. 12.6 pages), 8 sources, $ 111.95
»
Click here to show/hide summary
Abstract
Although fundamentalists in religious life assert that the answers to all human problems are available in inerrant scriptural form, there is still the problem of interpretation. From the beginning, differing stories, differing translations, and differing interpretations of scripture have led to the development of separate communities and sects within communities.
From the Paper
"Research on Qumran, Early Christians, and Early Rabbinic Judaism
Introduction
Although fundamentalists in religious life assert that the answers to all human problems are available in inerrant scriptural form, there is still the problem of interpretation. From the beginning, differing stories, differing translations, and differing interpretations of scripture have led to the development of separate communities and sects within communities. The intent in this essay is to look at three separate groups the Qumran community, the Early Christians and Early Rabbinic Judaism exploring their major beliefs and their use of canonical scripture."
| |
|
Black Film Movement of the Early 20th Century, 2000.
An examination of its history, male & female directors, themes, depiction of blacks, quality, funding & support and racism.
2,025 words (approx. 8.1 pages), 8 sources, $ 71.95
»
Click here to show/hide summary
From the Paper
"In recent years, both blacks and women have had to fight to become recognized in the film industry and to achieve any form of power. There are now a handful of black film directors, and a few women directors as well. In the silent era, though, when the economics of filmmaking were quite different, there were a number of women in the director's chair, many forgotten today, just as there were many black directors not in mainstream Hollywood filmmaking but in the all-black film movement. A number of these black directors were in fact women as well, and they constituted an early challenge both to white and male dominance of filmmaking.
The all-black film movement started in the silent era with the Lincoln Motion Picture company in Los Angeles in 1916, a black-owned and operated film corporation (Sampson 27). The most..."
| |
|
'Shades of Black - Conrad Black, his Rise and Fall', 2006.
A discussion and review of Richard Siklos's well written biography of Conrad Black's career, "Shades of Black - Conrad Black, his Rise and Fall".
1,800 words (approx. 7.2 pages), 1 source, $ 71.95
»
Click here to show/hide summary
Abstract
This paper reviews "Shades of Black: Conrad Black - His Rise and Fall", Richard Siklos's well written biography of Conrad Black's career and dramatic collapse after 2002. The paper explains that Siklos interviewed more than 200 persons before a 1995 edition of which this volume is a revised expansion featuring another 50 interviews. Siklos also spent hours speaking to Black, indirectly attempting to account for his extravagance and need to impress others, atop his drive for power. Much is revealed through Siklos's notes on Black's wife, the former Barbara Amiel. The paper reports that Siklos leads the reader through a summary of Black's family background, his youth in north Toronto's Bride Path area, his expulsion from Upper Canada College, and later, Trinity College School, before Thornton Hall, Toronto.
| |
|
James Cone: Black Theology and the Black Christ, 2006.
An analysis of the term theology and the essential concepts of "Black Theology" as it pertains to James Cone's idea of a "Black Christ".
4,374 words (approx. 17.5 pages), 15 sources, APA, $ 115.95
»
Click here to show/hide summary
Abstract
This paper examines how James Cone believes that if blacks, particularly African-Americans, don't wake up and change the traditional American image of Jesus, they will probably never grasp the true philosophy and mission of Jesus. It discusses how African-Americans must see Jesus as a black man that endured the struggle and how it is the duty of black preachers, pastors and theologians to advocate black theology, which includes the black image of Jesus, for the sake and survival of the African-American experience.
From the Paper
"When one begins to think about God, questions arise as one lacks significant knowledge of God. When one begins to engage in such a dialogue, or entertains such questions, one has clearly entered the community of theology. The articles states: "The attempt to think about God leads immediately to a host of related question which are included under the term theology. First, there is the question of mans relationship to God, the ultimate source of things? Then we must ask about revelation to God, that is, how does man know what God is like? If God must reveal himself where and how is he revealed?" These are prospective questions that man can't escape when thinking about God or in dialogue about God. "
| |
|
Too White Too Black, 2005.
A look at stereotypical roles of black women on television.
1,002 words (approx. 4.0 pages), 4 sources, MLA, $ 35.95
»
Click here to show/hide summary
Abstract
This paper introduces, discusses, and analyzes the topic of race in early television programming. Specifically, it discusses black women and the roles they played in early television.
From the Paper
""Beulah" had been a successful radio program before in debuted on television in 1950. It was the first show with a female African-American as the lead character. Beulah was a maid in a middle class white household, and the stereotypes continued from there. A history of the show notes, "Storylines tended to involve Beulah coming to the rescue of her employers, by providing a great spread of Southern cuisine to impress Mr. Henderson's business client, teaching the awkward Donnie how to dance jive and impress the girls, or saving the Henderson's stale marriage" (Bodroghkozy). Beulah was everything a post-war America expected of a black female on television. She was overweight, subservient, comical, devoted to the "white folks," and desperate for her boyfriend Bill to marry her. Many critics, black and white alike found the show simply perpetuated black stereotypes, and used blacks simply to make whites laugh. Their antics were perfect for the situation comedy format, because "they" were so different and so laughable to a largely white audience."
| |
|
American Television in the 1980s, 2004.
This paper discusses the problems of American television in the 1980s, television's cultural history, the postmodern television consumer culture as explored in DeLillo?s ?White Noise? and Wallace?s ?Girl with Curious Hair", and television sports.
2,630 words (approx. 10.5 pages), 5 sources, MLA, $ 79.95
»
Click here to show/hide summary
Abstract
This paper explains that the decade of the 1980s is seen as the explosion of television culture in terms of the proliferation of networks and the availability of programming through the cable. The author points out that Wallace and DeLillo are both concerned with postmodern characters that are absent internal selves, or rather, characters that seem to be informed of behavior primarily through the use of television. The author believes that sports on television now seems to be as dysfunctional as the nuclear family: a series of different schedules with a lot of hype, dreams or delusions of grandeur, with no meaningful connection to the simple love of the game.
Table of Contents
Cultural History of American Television
The Postmodern Television Consumer Culture: ?White Noise? and ?Girl with Curious Hair?
Television?s Impact on Sports
From the Paper
"The FCC continued to be the regulating body that determined what would be permissible for the American public to view. However, the Reagan administration that preached supply-side economics, believed that deregulation was the best method of growing the economy given the many slow-downs that dominated the 1970?s. ?For FCC chairman (Reagan appointee) [Mark] Fowler, the only kind of regulation that was legitimate came from the market itself, and he made this clear to gleeful industry executives from his earliest days in office? (Steyer 137). Fowler also acknowledged that such regulation should be at the hands of media and broadcasting executives because they had first hand knowledge of what Americans really wanted to see. Ironically, it seemed that the Reagan administration passively promoted a liberal media that looked for alternative methods of programming even though the business executives would assess its effectiveness and its decency."
|
|
|
