1,721,185 research outputs found
Elizabeth Gilbert’s Adaptation With Many Cultures In Eat, Pray, Love Movie (2010) By Ryan Murphy: A Sociological Approach
Full text linkThis study is aimed to show adaptation with many cultures in Eat, Pray, Love movie by using Sociological Approach. The objectives of the study are, to analyze the movie based on the structural elements and describe the movie based on a Sociological Approach.
In conducting this study, the researcher uses qualitative research. The data of study is image and text taken from two data sources. The primary source is the Eat, Pray, Love movie itself directed by Ryan Murphy, released in 2010. While the secondary data source are from other materials taken from book, internet and journal which related to the study.
The study comes to the following conclusions. First, Ryan Murphy wants to deliver a moral message that is human should be ready to lose everything. The structural elements are related each other and form a unity and. Second, based on the sociological analysis, Ryan Murphy describes that Elizabeth Gilbert is able to adapt well in many cultures with diverse types of adaptation
Ryan Murphy\u27s Queer America
No full textPanel Abstract: Ryan Murphy is, along with other legendary television creator-producers like Shonda Rhimes, a highly productive showrunner who specifically positions his work as politically resistant in its foregrounding of underrepresented identities both before the camera and behind the scenes. With over twenty different programs from police and medical procedurals to limited-series historical reconsiderations, from network blockbusters to quirky independent niche content, Ryan Murphy’s Queer America contains multitudes, and that is a statement not only about sensibility but expressed intent. In interviews about his creative work, Murphy articulates a committed effort to speak to and portray underrepresented voices. Murphy’s self-appointed role as an interventionist in Hollywood’s historical lack of non-white, non-heterosexual, and non-cisgender representation finds a litmus test in his and Ian Brennan’s 2020 Netflix limited series Hollywood, which imagines alternative histories for troubled, neglected, or disenfranchised stars such as Rock Hudson, Anna May Wong, and Hattie McDaniel. With the FX series Pose (2018-21), about the transgender ballroom scene of the 1980s and ‘90s, Murphy has made it clear that his show will reflect not only a queer but also a race- and trans-centered sensibility. Given the mixed response to these productions, Murphy’s results both court and create controversy. As the essays in this panel suggest, queerness can only be understood as a crisscrossing set of concerns, each with their own urgent momentum, a new moment of queer, trans, and anti-racist positions intersecting, diverging, directing. Even if Murphy’s work sometimes fails to realize its own potentialities, queer and otherwise, it does influence what counts as “diversity” in representation. And representation is important, since it solidifies cultural norms and values. Opines television scholar Jason Mittell, “Representations of identity help define what a culture thinks is normal for a particular group, how behaviors and traits fit into a society’s shared common sense. Such representations also directly impact how we think about ourselves: when television constructs norms for a group we belong to, we might compare our own behavior to that representation; when it represents a group different from ourselves, television can shape how we view other people.” Given the enormous power that television in its rapidly changing forms, platforms, venues, modalities, and audience saturation continues to wield, Murphy’s work demands analysis for its determination and ability to make the work of representation newly visible as an object of study.
Title: The Weight of Queer Emptiness: “The Politician and Twenty-First Century Queerness”
Abstract: Critics have described The Politician as “the Rosetta stone we need for [Ryan Murphy’s] work.” Indeed, the show’s aesthetic, themes, and sensibility bring together much of what Murphy is known for in television. In particular, the show’s use of queer identities and queerness is emblematic of his commentary on cultural life in the twenty-first century. Since The Politician’s release in 2019, reviews have been mixed on the effectiveness of the show’s commentary on politics and queerness. One common observation made by critics is that the show represents a certain “emptiness.” As a point of convergence emptiness stands for something that should be there but that is not. Emptiness is, though, never empty; rather than a vacuum, there is in fact meaningful space. What fills out and gives weight to this space, to The Politician’s queer emptiness is the show’s contrasting uses of LGBTQ identities (where sexual and gender identities define an individual) and post-queer lives (where identities are unremarked and irrelevant to one’s life) that occur at the intersections of authenticity, politics, and social class.
Casting Queerness: Showrunning Advocacy and Ryan Murphy’s Television Histories
Abstract: In June 2019, Netflix announced that it made a three-year multimillion-dollar deal with Pose (FX, 2018-2021) director, producer, and writer Janet Mock. The first transgender person to land full creative control with a major content company, Mock will continue to write, produce, and direct for Ryan Murphy, but also become a TV showrunner for future Netflix series and feature film projects. As the creator of Nip/Tuck (FX, 2003-2010), Glee (Fox, 2009-2015), American Horror Story (FX, 2011-present), American Crime Story (FX, 2016-present), The Politician (Netflix, 2019), and Hollywood (Netflix, 2020), Murphy has been using “showrunning as advocacy” to create LGBTQIA-positive series that are inclusive not only of the queer community, but also women and people of color, hiring 60% women directors and famously casting five transgender women of color to star in Pose. This essay will focus on the showrunning of Murphy on series such as Pose, American Crime Story, and Hollywood as a means of examining how the embodiment, presence, and visibility of queer people and queer people of color in media representation and media production can be seen as advocacy. Using media industry and production studies approaches, I will be analyzing the ways in which casting queer people and queer people of color enables new possibilities for understanding the intersections between media production, media representation, and the material conditions of labor within the television industry.
Since debuting his first show in 1999, mega-producer Ryan Murphy has made an indelible mark on television. He owes much of his success to his synergistic relationship with one of his best-known collaborators, actress and producer Sarah Paulson. In this paper I argue that Paulson is Murphy’s “fused muse”: someone who both inspires and whose talent makes possible the work of the artist. By examining their ongoing professional relationship, I catalogue how Paulson, as Murphy’s fused muse, both enables and embodies Murphy’s four tactics for disrupting the Hollywood status quo to make the entertainment industries more equitable and inclusive. I identify the four tactics championed by Murphy—a combination of priorities he has expressed publicly and patterns that emerge throughout his work—as follows: (1)reimaging and rewriting history through television series or episodes; (2) reorienting the female star trajectory; (3) striving for a more equitable Hollywood through his Half Initiative; and (4) prioritizing collaboration in the age of the television auteur. I demonstrate that Paulson has played an integral role in realizing each of the aforementioned tactics, and in doing so functions as both source of inspiration and an active participant in realizing Murphy’s creative worldview.
This paper considers the Ryan Murphy first responder procedural drama 9-1-1 (2018 – present) for how its dramatized rescues of fetuses/children allay anxieties over the end of the Anthropocene. Amidst a series of interlocking storylines that drive the procedural format and heighten anxieties about global warming and natural disasters,
9-1-1 returns again and again to scenes of birth both symbolic and actual. Securing such fetal futures at the culmination of most episodes issues a rebuke of the queer time of pregnancy and birth in favor of what feminist philosopher Elizabeth Freeman terms “chromo-normativity,” or those devices that measure time to regulate bodies and behaviors. On 9-1-1, bio-rescues often require the narrative elimination of the natal body. Indeed, bio-mothers are put under erasure across every season of 9-1-1, in such a way as to call the full heroic function of the masculinized white father into action. Despite the ostensible liberalism of its casting, 9-1-1 offers a version of fetal futures achievable only through patriarchal intercession into, and marginalization of, the maternal body. Through the figure of the child in general and the fetus in particular as both innocent victims of inferior maternity and autonomous future citizens needing rescue from the abject maternal, 9-1-1 assures us of a safer world to come, particularly if patriarchal intercession arrives “on time.” Trapped in wombs or captive to the unregulated vagaries of their bio-mothers, the show promises that repro-futurity is not just for white heterosexuals anymore, as governmental infrastructure (the police, the fire department, the hospital) “saves” us from the very same death-drive-jouissance articulated in the antinominalist discourses of theories of “queer time. The show\u27s edge-of-your-seat rescues of fetuses and children ultimately hews closely to ideals of chrono-normative emergency requiring management by the State and its representatives, even if such state representatives have been “updated” to include queers and people of color
Symbols Of Maddie's Postpartum Depression In "9-1-1" The Series Directed By Ryan Murphy (2019): Semiotic Analysis
Full text linkThis study is an analysis of Maddie's postpartum depression in 9-1-1 the series by Ryan Murphy (2019). The aim of this study was to determine the meaning of the sign or symbol in the movie using semiotic analysis, the methodology used in this study was descriptive qualitative. The data source in this study is 9-1-1 the series produced by Ryan Murphy in 2019. In collecting data, the researcher uses a summarizing technique, after the data is fulfilled, the data is described by identifying according to the problem and research objectives that have been determined previously, the researcher uses the semiotic theory of Charles Sanders Peirce. There are 5 data that researcher found. This aims to identify Maddie’s postpartum depression from a semiotic theory and apply it to semiotic theory. The results of this analysis is that Maddie's postpartum depression was shown by her behavior and conversation .Words and behavior often describe the mentality of someone. Many people still don’t express their mental problems, but it can be shown through their words and actions
India As Source Of Spirituality In Eat Pray Love Movie Directed By Ryan Murphy(2010): A Sosiological Approach
Full text linkThis study is aimed to show India as source of spirituality in Eat Pray Love movie directed by Ryan Murphy (2010) using Sosiological Approach. It is done by establishing two objectives: the first is analyzing the movie based on its
structural elements and the second is analyzing India as source of spirituality in Eat Pray Love movie based on sociological approach. Sociological theory based of Swingewood and Laurenson. This research is qualitative research. Type of data of the study is text taken from two data sources: primary and secondary. The primary data source is Eat Pray Love movie directed by Ryan Murphy (2010). While the secondary data sources are other materials taken from books, journals, and internet related to the study. Both data are collected through library research and analyzed by descriptive analysis. The outcome of the study shows the following conclusions. Firstly,based
on the structural analysis indicated that each of narrative elements and structural elements of movie have been related into solid unity. Secondly, based on sociological approach the researcher divides the aspects into six aspects whichconsists of social aspect, economic aspect, political aspect, cultural aspect, science and technology aspect, and religious aspect
<i>Pose</i> (2018-2021) de Steven Canals, Brad Falchuk, Ryan Murphy
No full textPose es quizás poco conocida entre les espectadores argentines, ya que como muchas otras de las excelentes producciones del canal norteamericano FX, terminó engrosando el vasto catálogo de Netflix de un día para el otro, sin mucha promoción. (En la versión local de la plataforma pueden verse hoy las primeras dos temporadas, con la tercera y última de seguro en camino). Ryan Murphy y Brad Falchuk (Nip/Tuck, American Horror Story, Glee) buscaron con esta serie redoblar su apuesta por la introducción de elementos queer en la televisión mainstream, que ya les había granjeado bastante reconocimiento y galardones. Reclutando a Steven Canals y Our Lady J como productores y guionistas, decidieron contar ahora historias con el trasfondo de la escena del drag ballroom neoyorkino de los ochentas y noventas y, en lo que fue su mayor innovación, pusieron por primera vez en pantalla un elenco compuesto casi completamente por personas transgénero y de color.Facultad de Humanidades y Ciencias de la Educació
Remediating the 1990s with Ryan Murphy
No full textIn the context of an extended, and to date ongoing, Anglophone media moment characterized by concern with and interest in the events, culture, politics and media of the 1990s, a cluster of noteworthy media texts has emerged, and continues to grow, that engages explicitly in practices and processes of re-historicization, re-contextualization and re-mediation of major flashpoint news media events and stories of that decade. None more so than the 2016 FX true crime anthology television series The People Vs. OJ Simpson: American Crime Story, which sits alongside cognate texts like the film I, Tonya (Craig Gillespie, 2018) and the continuing podcast You’re Wrong About… (2018-present). With particular analytical and interrogative focus on the Ryan Murphy directed episodes ‘The Run of His Life’ (tx. 9 February 2016) depicting the infamous ‘Bronco chase’, and ‘Marcia, Marcia, Marcia’ (tx. 8 March 2016) depicting the media circus that ensued from prosecutor Marcia Clark’s visit to a salon during the OJ Simpson murder trial, this chapter explores and unpacks the (inter)generational cultural politics of gender and race in The People Vs. OJ Simpson. It does so by viewing Murphy’s episodes through the lens of the queerness that manifestly inflects his remediation of the iconic events, moments and figures portrayed. The queer stamp left by Murphy on all his creative output is seen across these episodes in examples ranging from their core concern with the pitfalls of celebrity excess at the dawn of the hyper-intensification of tabloid culture, to the camp cheek that tonally underpins the teleological depiction of the proto-celebrity of the Kardashians, to the extreme queerness of Murphy’s rendering of Marcia Clark’s ostensible makeover scene. This chapter contextualizes such episodes in relation to Ryan Murphy’s manifest authorial concern with Gen-X identity politics, arguing for his status as a media producer whose work enables him to be understood as a queer feminist generational interlocutor between Generation-X and millennials. Murphy’s work, especially here, voices the concerns of Gen-X across a generational divide with millennials. And it does so in ways that render the identity politics that defined the lived experiences of the former in the 1990s legible to the latter, via manifest representational and discursive resonances with the anti-misogynist and anti-racist concerns of contemporary identity politics, most culturally visible via the prominence of movements like Black Lives Matter and #MeToo
Appel à communications : Pop, glamour et trash : la série TV selon Ryan Murphy. Entre héritage et hommage, une écriture de l'Amérique écorchée en images
No full textPop, glamour et trash : la série TV selon Ryan Murphy. Entre héritage et hommage, une écriture de l'Amérique écorchée en images 7 et 8 juin 2024 Université Gustave Eiffel Date d’échéance : 20 avril 2024 Journées d’étude organisée par Stella Louis et Fabien Delmas (LISAA, CCAMAN, Université Gustave Eiffel). Texte de l’appel : Le développement spectaculaire des séries américaines et l’avènement de “l’âge d’or”[1] qu’elles ont connu à partir de la seconde moitié des années 1990 sont associés à ..
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
The Register Variables in “Eat Pray Love” Movie Script Written by Ryan Murphy and Jennifer Salt Based on the Book by Elizabeth Gilbert (Functional Grammar Analysis). Skripsi
Full text linkEnglish is the important language which is used by the people to communicate between one person and others around this world. When the people communicate with others, they have to know about the context of situation first. The context of situation is important in order that there is no miss communication when they communicate between one person and others. So, they can express their mind and convey some messages easily based on the situation. Besides, the listener can understand what they mean.
The purpose of this research is to find out the register variables of “Eat Pray Love” Movie Script Written by Ryan Murphy and Jennifer Salt Based on the Book by Elizabeth Gilbert, they are field (through the transitivity system), tenor (through the mood system), and mode (through the theme system).
This research belongs to qualitative research. It describes the field (what is going on), tenor (the relationship between the speaker and addressee), and mode (how the language is used). The data of this research is register variables; they are field, tenor, and mode of dialogues used by Liz, Stephen, David, and Felipe in “Eat Pray Love” Movie Script Written by Ryan Murphy and Jennifer Salt Based on the Book by Elizabeth Gilbert. The data were taken from “Eat Pray Love” Movie Script Written by Ryan Murphy and Jennifer Salt Based on the Book by Elizabeth Gilbert as the data source.
The result of this research consists of three points. The first one, the field of this movie is what Liz does with Stephen, David, and Felipe in the journey to get the life balance because she divorced with his husband, Stephen. The second one is the tenor; participants involving in this movie are Liz, Stephen, David, and Felipe. The relationship between Liz and Stephen, Liz is Stephen’s wife and Stephen is Liz’s husband. The relationship between Liz and David, Liz is David’s girlfriend and David is Liz’s girlfriend. And the relationship between Liz and Felipe, they are best friend. And the last one is the mode, language which is used by the actors in “Eat Pray Love” movie script is informal language. So, the writer concludes that the genre of this movie is romance.
Therefore, the writer suggests that for the lecturer, they can use movie script as the material when they teach Functional Grammar to the students because they can get so many examples of register variables. Besides, she also suggests that for the students, they can get the understanding about register variables in Functional Grammar because the examples can get from the movie script. So, it can interest attentions of the students to study register variables in Functional Grammar
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