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Thesis proposal
Laura Delarato
Understanding Media Studies
Thesis/Grant Proposal
Prof. Wilder/ T.A. Sanja Trpkovic
Due: 11 May 2010
‘Happy Bleeding: A study on menstruation products’ documentary and Web site
’Happy Bleeding: A study on menstruation products’ is a documentary and Web site project that reviews all tampons, pads, and other alternative methods for periods. Each product marketed towards female-bodied people will be reviewed and studied to determine if it is really safe for usage. The ingredients, along with descriptions, will be explained in the documentary as well as on the Web site. The outcome of the documentary is to conclude which feminine hygiene products are unsafe to use, what are the alternatives, and how companies should change the way they make their products.
The documentary portion will include interviews, personal testimonies from product users, discussing and explaining cases of Toxic Shock Syndrome, and will give a step-by-step demonstration on how to use every product. Finally, the result will be a list of safe products versus ones not to use.
The Web site will carry the message from the documentary to the internet and provide the same information. Also, there will be petition forms dedicated to stopping the creation of unhealthy menstruation products. The Web site will also be in support and sponsor women’s athletic teams across the country to promote health and body consciousness.
The idea for this project came after hearing a rumor explaining that there is a certain chemical in mainstream tampons that actually makes female-bodied people bleed more. The fact that this is a rumor is unsettling. Even if it isn’t true, women should not have to worry about what products can harm them while they are on their period.
The framework for the project with be mainly based through the documentary since it will draw people to the Web site. In the documentary, there will be an ongoing question asking “is this safe” throughout filming. It will start product testing and interviews with the mainstream companies such as Tampax, Kotex, OB, and Playtex. After listing how each product is made there will be a research session to see whether the ingredients are harmful to the vaginal ecosystem. Following that research there will be the same examining to alternative forms of feminine hygiene products. Once all the research and interviewing is conducted there will be a price comparison for the safe and unsafe products, as well as a chart listing where in the United States can women buy the safe products — to examine if the alternatives are available to everyone.
Tampons and pads are seen all the time in commercials pitching which one is leak free or more comfortable. With advertisement campaigns such as Tampax’s “Outsmart Mother Nature,” the feminine hygiene business has become more mainstream (Tampons Tampax Products). The project relates to media studies in that it shows that women sometimes will go for the highly advertised product instead of looking around for safer alternatives.
The best qualifications I have to undertake this project are that I’m woman and I know how to work a camera. I feel like this is a project that requires many questions and patience, and not necessarily a project for anyone dealing with the creation of feminine hygiene products. I can give a unique, do-it-yourself point of view to the documentary without being well-versed in the chemicals in each product. That way the audience learns with me.
Besides bloggers who claim that their menstruation cup is better than the tampons they used to use, there hasn’t been that must definite research on any products being absolutely unsafe to use. The National Research Center for Women and Families created a question and answer portion of their Web site dedicated to a few warnings about tampon products. They explain that tampons are made with cotton and rayon which is bleached in chlorine. This process results in a toxin called dioxin, which could be the cause of Toxic Shock Syndrome — a fatal illness caused by bacteria toxins from leaving a tampon in too long (“Asbestos and Dioxin Contamination in Tampons and the Risk of Toxic Shock Syndrome”).
Web sites such as About.com has addressed the rumors that have been said about menstruation safety, but they also outline the statements said by the FDA’s Center for Devices and Radiological Health that dispute the rumors (Cornforth). There are also outdated Web sites like Snopes.com that compiled an email sent in 1998 by an unnamed women from the University of Colorado claiming that the tampon bleaching process causes cancer and makes the user bleed more. Below the email is a statement from the FDA on July 23, 1999 that states, “FDA has no evidence of asbestos in tampons or any reports regarding increased menstrual bleeding following tampon use. Before any tampon is marketed in the U.S., FDA reviews its design and materials. Asbestos is not an ingredient in any U.S. brand of tampon, nor is it associated with the fibers used in making tampons” (“Asbestos in Tampons”).
The tampon and pad alternatives have focused on their products being safer and more eco-friendly. The DivaCup is a popular U.S. and Canadian brand that simply is a cup that holds menstruation flow. “It is inserted in the vagina and sits at the lower base of the vaginal canal. It is worn internally, yet because it is soft and smooth, it cannot be felt nor will it leak when inserted properly” (“The DivaCup Features”). The features of the cup include being latex, plastic and BPA free, can be worn up to 12 hours, doesn’t contain dyes or bleaches, and is reliable and comfortable.
The project will fill the gap of the existing work by providing definite, more concrete, answers about period safety. It will show how to use all the products mentioned, and will give menstruation basics information for young girls about to get their periods. This way, instead of information being scattered around a group of Web sites it will all be contained on the documentary and Web site. Also, the project will extend the research by giving first hand accounts on using the products instead of trusting biased positive claims on each company’s Web site.
My research will start with the individual products. I will, or a crew member, will sample a product for a day and report back their experience. Each product will be reviewed by its design, safety, comfort, price, accessibility, and longevity. After the products are reviewed the individual chemicals will be researched for side effects. From there, the manufacturers and the FDA will be called to set up interviews so that we can question the product’s safety and how they are being advertised, or why they aren’t advertised enough. Then we will determine the safest product to use.
Before all the research, we will consult a gynecologist to speak about the vagina and its ecosystem so that there is a clear basis for what can and cannot be used. Also, there will be an explanation about why female-bodied individuals menstruate and how it affects our bodies.
I expect to come across cost and transportation limitations. I am going to have to buy each product to test them out, and to conduct interviews I would have find some mode of transportation that reaches past the New York subway system. I don’t believe that setting up interviews will be a problem since the documentary is about finding a safe product, and most companies will go out of their way to prove they are safe.
Production Plan:
Scene Descriptions
¥ Interview with gynecologist — Myself and the doctor sitting in their office talking about what concerns we should have about testing the products and what we should be looking for in each product.
¥ How the vagina operates — This can be done through Flash animation and voice over. This will be a quick explanation of how the vagina works and why we menstruate.
¥ Buying products — Crew will head to local grocery store and take inventory of all the products available in that area and buy one of each product.
¥ Testing — This will be a series of shots in the bathroom describing the difficulty of putting in the product. There will not be any graphic images. The focus will be on the person’s face and what they have to say while placing in the product.
Interview questions
¥ How far of a reach does your product have in the United States?
¥ Are there any states or places that can’t buy your product?
¥ What is the main idea behind your advertisement campaign?
¥ What type of woman are you marketing to?
¥ Your products contain (insert chemical name here). Are you worried about the affect this might have on your users?
Proposed Budget for product testing and travel.
¥ According to an alternative versions for menstruation control called MoonCups and Keepers, the average woman spends $4 on feminine hygiene products a month. If she used organic tampons it will be $5.50 a month. On average, the amount of different products a company has is 11 (The Average Woman Spends $4.00 a Month on Tampons and Menstrual Pads). If we rounded the average price to $5.50, that would be $60.50 for product testing.
¥ Platex, Kotex, and Tampax are based in New York City. OB is based in New Jersey. The Diva Cup is based in Ontario. Seventh Generation Organic Tampons are based in Vermont. According to Web sites such as Priceline, Travelocity, Expedia, and Kayak, the average cost of flights to Ontario and Vermont will be $910.
¥ Hotel prices in Ontario on average are $86 a night. Hotel prices in Vermont on average are $79 a night. If staying in both places for two nights, the total cost would be $330.
¥ Food and expenses would average to $300 for both trips to Ontario and Vermont.
¥ Total cost of everything is $1,600.50.Work Cited
“Asbestos and Dioxin Contamination in Tampons and the Risk of Toxic Shock
Syndrome.” National Research Center For Women & Families. National Research
Center for Women & Families. Web. 27 Apr. 2010.
<http://www.center4research.org/qna9.html>.
“Asbestos in Tampons.” Snopes.com: Urban Legends Reference Pages. Urban Legends Reference Pages, 1998. Web. 27 Apr. 2010.
<http://www.snopes.com/medical/toxins/tampon.asp>.
Cornforth, Tracee. “Tampons - Are Tampons Safe.” Women’s Health Issues - Women’s
Health Questions and Answers - Women’s Sexual Health. About.com, 30 Oct.
2009. Web. 27 Apr. 2010. <http://womenshealth.about.com
/cs/feminineproducts/a/tampondebat.htm>.
“Tampons Tampax Products .” Tampons Tampax - Mother Nature - Period - Puberty – Tampax.com. Procter & Gamble. Web. 27 Apr. 2010.
<http://www.tampax.com/en-US/home/home.aspx>.
“The DivaCup Features.” Home - The DivaCup, an Innovative Menstrual Cup the Best
Alternative to Tampons and Pads. Diva International. Web. 27 Apr. 2010.
<http://www.divacup.com/en/home/diva_cup/>.
“The Average Woman Spends $4.00 a Month on Tampons and Menstrual Pads.” Moon
Cups and Keepers the Alternative to Tampons, Pads, and Napkins. The KEEPER Inc.
Web. 27 Apr. 2010. <http://www.mooncupsandkeepers.com/article_cost.html>. -
Literature Review
Laura Delarato
Understanding Media Studies
Literature Review
Prof. Wilder/ T.A. Sanja Trpkovic
Due: 19 April 2010
Riot Grrrl movement, Jamie Babbit and her lead charactersBikini Kill, Heavens to Betsy, and Sleater-Kinney were some of the all-girl bands that started in Olympia, Washington from 1990 to 1991 and are most notable for the beginning stages of Riot Grrrl feminism. The movement itself consisted of punk-rock women reclaiming the word ‘girl’ and using it as a political stance with a more assertive meaning (Rosenberg, 809). However, the portrayal of Riot Grrrl characters in film created after the movement are not parallel to the definition. The main issue in the characters is that they do not act on their own inherent feelings and let others do it for them, whereas Riot Grrrls are not submissive, passive, or willing to let someone else do their job.
Before Riot Grrrls there was first and second wave feminism. First wave feminism happened during the end of the ninetheenth and into the twentith century, and it fought against inequality and fought for the women’s sufferage movement. Second wave feminism happened during the 1960s and 1970s and it focused on reproductive rights, gender, sexuality, and the way women were viewed. In the early nineties, third wave feminism hit and spawned many branches embracing conflicts and arguments proclaiming that there isn’t one way to view feminism, and that it should “…accommodate diversity and change,” (Tong, 289). One of the feminist outlets it created was the Riot Grrrl movement dedicated to punk-rock, women who played in bands, and a do-it-yourself motto (Rosenberg, 809).
The idea behind Riot Grrrl was to undo the idea of a traditional woman by breaking conventions while participating in punk-rock. The movement was led by the all-female punk bands of the time, and from there chapters starting opening up. “Girls held conventions where Riot Grrrls met and exchanged zines, bands performed, and workshops were held on topics such as eating disorders, rape, abuse, self-mutilation, racism, self-defense, and zine production,” (Rosenberg, 810).
This movement has created such documentaries as Don’t Need You: The Herstory of Riot Grrrl Documentary, which captures band interviews with Allison Wolfe, Corin Tucker, and Kathleen Hanna speaking about the realization of what the movement meant to them as the originators (Don’t Need You: The Herstory of Riot Grrrl). Outside of the documented reality behind the revolution, there have been a few fictional movies to take third wave feminism and reclaim it through film. The most highlighted director among the feminist community of the last twenty years has been Jamie Babbit, who has embraced Riot Grrrl ideals in her films and was highly influenced by the movement while starting to work as a director (Resnick). Even though she was part of the movement, her films do not resonate a strong female lead that captures a Riot Grrrl.
Babbit’s more popular films But I’m a Cheerleader (2000), The Quiet (2006), and Itty Bitty Titty Committee (2007) use the actions of the characters to produce third wave feminism in her films, but there isn’t one character that represents the Riot Grrrl movement in any. To compare to an actual film with a Riot Grrrl, Floria Sigismondi’s 2010 biopic film The Runaways portrays Joan Jett as an aggressive woman who carved out a place for herself in rock and roll history by using a do-it-yourself method (Kennedy, 89). The main characters in Babbit’s films do not empathize with this attitude nor do they bare a striking Riot Grrrl presence.
In each of the three Babbit films in question there is a female lead trying to reclaim their own understanding of feeling free in their own feminism. Megan in But I’m a Cheerleader is trying to accept herself as a lesbian and free her mind from the roles in which men and women are supposed to act upon. Nina in The Quiet is searching for a way to break from her forced-upon incestuous relationship with her father. Anna in Itty Bitty Titty Committee is looking to embrace her political and sexual awakening by running with a group of empowered feminists. Through their performances the audience could say that there is a radicalized awareness that sparks in each character, but there isn’t enough to see similar traits to the woman who started the riot.
Megan, played by Natasha Lyonne, in But I’m a Cheerleader is written as a small-town, naive, high school cheerleader that is sent away by her parents and friends to a straight camp called True Directions Centre for the Eradication of Homosexual Tendencies. There she comes to terms with her homosexuality, discovers its history, and falls in love with Graham, played by Clea DuVall (But I’m a Cheerleader).
The film is created with many bright colors and humor so that it brings a satirical view to America’s problem with homosexuality (Smith, 5). Also, it addresses the stereotypical view of today’s lesbian as being considered ‘butch’ or masculine. Megan, in her life at school, is pretty and a cheerleader — making her seem perfect. The audience finally recognizes, along with Megan, that she is not popular or perfect amongst her friends because she is a lesbian. After evidence brought to her attention by her family, friends, and True Directions counselor, played by RuPaul, Megan accepts her sexual orientation and is shipped off to straight camp.
The reason this film would be considered in the Riot Grrrl genre is because of Megan’s self-identification and how she breaks the traditions of what a woman should be (White, 1), but her character is not a Riot Grrrl. The majority of the film watches Megan preach about the roles of men and women, and how they should be followed. At the family session scene, Megan explains to the group that the reason she is a lesbian is because of a time her mother had to work and her father was unemployed, giving her the wrong idea about the roles of men and women (But I’m a Cheerleader). There isn’t a self-affirming attitude nor is Megan denying her fake excuses for being a lesbian. “The marginalization that these feminists faced only served to make them stronger, louder, more confrontational, and purposefully united,” (Turner, 10). Megan’s marginalization made her quieter during her self-identification, and her coming out is based upon self-loathing rather than being sexual (Smith, 6).
The only character in But I’m a Cheerleader that possesses the Riot Grrrl persona would be Graham because she is assertive, political, and does not embody the stereotypical look that woman are supposed to look like, meaning she doesn’t look like Megan. If Graham were the lead in the film this would be considered a major step in Riot Grrrl history, but her part is cut short for Megan’s storyline.
Another Babbit film that falls short from its Riot Grrrl ideals is The Quiet. The film is about a deaf girl Dot, played by Camilla Belle, who just moved in with her aunt, uncle, and cousin after her father is killed. Besides being tormented in school and at home for not being able to hear, she soon discovers her uncle’s inappropriate relationship with his daughter Nina, played by Elisha Cuthbert (The Quiet). The story is seen in the point of view of Dot, but it is Nina who carries the film along making her the lead character.
In contrast to But I’m a Cheerleader, The Quiet is filmed in very low-lighting and presents an eerie, foreshadowing presence until the credits. Though it is shot beautifully, it is hard to pay attention to that beauty. “There, the beauty ends, because this is a story about very dark disfunctionality of an American family with the kind of secrets that smears the concept of marriage with ugliness,” (Brenner). Once it is revealed that Nina is plotting to kill her father because of his abuse, the story is taken away to unravel Dot’s secrets and her involvement in the murder.
The story is considered a part of the Riot Grrrl genre is because of it graphic displays of women taking charge of their situation and it speaks about sexual abuse in women, (Rosenberg, 810). In an interview with Babbit she explained that there really wasn’t a visual understanding of the confusing sexual elements of abuse — especially in women, and it was that reason for her to create The Quiet (The Quiet - Interview With Jamie Babbit. Spike.com). Also, one of the main topics that is very prevalent amongst members of the Riot Grrrl movement was sexual abuse awareness and many musical lyrics from stage in feminism time dealt with the subject (Whiteley, 182).
Though the film is reminiscent of Riot Grrrl qualities, Nina is not. She is the embodiment of a typical American teenage girl who is struggling with abuse but does not go about stopping it herself — leaving that up to her cousin Dot. In the final scene, Nina is being attacked by her father and gives up the fight to his attempt rape. Dot hears the struggle, because she has been faking her deafness throughout the whole film, and strangles her uncle. Nina’s lack of motivation during the struggle takes away from her being a strong, self-affirming woman that Riot Grrrls display themselves as and pride themselves for being. For that, the Nina character cannot be considered a representation of one of them (The Quiet).
Dot, being the alternative character, can be seen as a Riot Grrrl due to her actions in the film — her sex scene, where she takes a dominant position in the sexual act, and murdering her uncle. Also it helps that she is not a traditional looking woman, giving a juxtaposing view opposite Nina. Since she does not speak in the film, Nina is considered the lead but through her unassertive characteristics she gives up all right to be pronounced a Riot Grrrl.
As somewhat of a combination of the previous films, Itty Bitty Titty Committee is about a young girl named Anna, played by Melonie Diaz, who works as a receptionist in a plastic surgeon’s office she starts to hang out with a group of radical feminists called C(I)A that change her perception of the way women are viewed, after catching one of them vandalizing the surgeon’s office. Anna starts to find herself attracted to one of the leaders of the group Sadie, played by Nicole Vicius, which sparks a relationship between the two characters (Itty Bitty Titty Committee).
The film is shot with a little bit of edginess and a little bit of camp. Even though it is funny, it does shed some light on the problem of women’s place in society. The quality of the filmmaking possesses a very grainy look. “Visually, the film is true to its punk-inspired roots. In fact, Babbit has stated that the visual style of the film is heavily influenced by the aesthetic of ’90s riot grrrl videos and artwork. Shot in a personal, almost faux-documentary style with grainy, Super 8 montages depicting concerts and acts of public disturbance,” (Riendeau). Also, the script is full of unapologetic dialogue filled with foul language and sexual undertones spoken solely by female characters.
The film is a Riot Grrrl film because of the C(I)A’s motivation for protesting. “The actions of the C(I)A feminist group in Itty Bitty Titty Committee were motivated by patriarchal and heterogendered society that treats women unequally,” (Kulhánkova, 63). Also the film touches upon self-identification being that Anna’s character learns more about herself by spending time with the C(I)A (Kulhánkova, 64). The C(I)A group consists of a do-it-yourself attitude along with punk-rock appearances, accompanied by an equivalent soundtrack (Riendeau). Itty Bitty Titty Committee makes it very clear that these women have been educated and are going off of third wave feminism because of their intelligent and combative nature. “As stated, [Riot Grrrl] was a musical and political subculture, born of punk rock and feminism. Riot Grrrls were certainly not the first women in punk, nor were they the first feminists to make political music. But, as a group, they were the first to deliberately and explicitly fuse the two realms with such an aggressive, in-your-face style,” (Jacques, 47). The characters have already been educated on the past waves of feminism, as seen in Anna’s studying on her bed about woman activitists, and that ties into the Riot Grrrl revolution because they bring what they have learn to a more radicalized place.
Out of the three films, Itty Bitty Titty Committee is the most Riot Grrrl orientated of them all but the character of Anna is not. Though she is an out lesbian throughout the whole film, she still deals with self-esteem issues that the character carries with her in every scene (Riendeau). Even though Anna does transition from a “timid office girl to subversive [to a] pro-femme anarchist,” her dialogue and actions are not as hardcore as the rest of the character (Riendeau). She still keeps up with her sweet persona while the rest of the cast is being debaucherous. However, she does the more radical of transitions out of all the lead characters in the Babbit films. “Anna’s change is the most significant in the course of the story, as she starts questioning her position in society and sees through her ‘endangering’ job and realizes that she has been working ‘for the enemy,’” (Kulhánkova, 54). After changing her job, she still in seen as a regular girl with feminist ideals whereas the rest act on those thoughts. There in lies the difference.
The Sadie character is the true Riot Grrrl of the film. When the audience first meets Sadie she is spray painting the wall outside of the plastic surgeon’s office where Anna works (Itty Bitty Titty Committee). She carries hers with confidence and quickly gets to the point of why women should not be getting plastic surgery. Though she does have a femme-blonde look, she still gives off a punk-rock attitude (Kulhánkova, 52). Also, being that she is the leader of C(I)A, she is always presenting ideas fueled by cultural, political, and social thoughts and a desire to make the world equal for all (Kulhánkova, 53).
The Riot Grrrl movement was based on women who took a political stance against the way that they were being represented in society, and by having unconventional appearances and creative attitudes they sparked one branch of feminism founded on punk-rock, alternative outlooks, and assertive political views. Being from the movement, Babbit infused some of the Riot Grrrl beliefs into her films but not into her main character. Because of this, she hasn’t given a clear representation of a Riot Grrrl through their point of view. Instead the character most identifying with the movement are part of the cast’s ensemble, and not given enough screentime to be fully represented. The hole that has been found in the research begins with Riot Grrrl feminism being totally uninhibited and very true to the beliefs of third wave feminism, but the lead characters that are acting as representations of this movement do not abide by the standards.
Works Cited
Brenner, Jules. “Director Jamie Babbit’s The Quiet: An Erotic World of Dark Family Secrets.” Associated Content. Associated Content, Inc., 24 Aug. 2006. Web. 11 Apr. 2010.
But I’m a Cheerleader. By Jamie Babbit. Dir. Jamie Babbit. 1999. DVD. Don’t Need You: The Herstory of Riot Grrrl. Dir. Kerri Koch. Urban Cowgirl Productions, 2005. DVD.
Itty Bitty Titty Committee. Dir. Jamie Babbit. Power Up Films, 2007. DVD.
Jacques, Alison. “… But You Can’t Hide: The Incorporation of Riot Grrrl into Mainstream Culture.” Canadian Women’s Studies 20.4 (2001). Web. 11 Apr. 2010.
Kennedy, Kathleen. “Results of a Misspent Youth: Joan Jett’s Performance of Female Masculinity.” Women’s History Review 11.1 (2002): 89-114. Informaworld.com. Web. 11 Apr. 2010.
Kulhánkova, Hana. “Validity of Butch and Femme Gender Identities.” Masaryk University (2008). Department of English and American Studies. Web. 11 Apr. 2010.
The Quiet - Interview With Jamie Babbit. Spike.com. Spike Digital Entertainment Inc., 26 July 2006. Web. 11 Apr. 2010.
The Quiet. Dir. Jamie Babbit. Sony Pictures Classics, 2005. DVD. Resnick, Sofia. “Rebel Girl: Jamie Babbit on ‘Itty Bitty Titty Committee’”
The Austin Chronicle. Austin Chronicle Corp, 16 Mar. 2007. Web. 16 Apr. 2010.
Riendeau, Danielle. “Review of “Itty Bitty Titty Committee”” AfterEllen.com. AfterEllen.com, 29 May 2007. Web. 16 Apr. 2010.
Rosenberg, Jessica, and Gitana Garofalo. “Riot Grrrl: Revolutions from within.” Chicago Journals 23.2 (1988). JSTOR. Web. 11 Apr. 2010.
Smith, Julian C. “Coming Out in Film.” Bent Screens (2004). Aber.ac.uk. Web. 11 Apr. 2010.
Tong, Rosemarie. Feminist Thought: a More Comprehensive Introduction. Boulder, Colo.: Westview, 1998. Print.
Turner, Cherie. Everything You Need to Know about the Riot Grrrl Movement: the Feminism of a New Generation. New York: Rosen, 2001. Print.
White, Patricia. “Lesbian Minor Cinema.” Oxford University Press (2008). Screen: Oxford Journals. Web. 11 Apr. 2010.
Whiteley, Sheila. Sexing the Groove: Popular Music and Gender. London: Routledge, 1997. Print.
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Reaction Paper
Laura Delarato
Understanding Media Studies
Professor Wilder/ TA Sanja Trpkovic
Reaction Paper
22 March 2010
Stealing is not funny
In standup comedy, authenticity does not exist because there isn’t a correct or traditional way to perform, which means there isn’t a person to acknowledge. Jokes can derive from the same topic but must differentiate in wording, idea, and style. Even though there is a wide variety of comedians in the world, there is always a chance that a few will comment about the same topic. A good comedian is able to tell the joke using an original angle, words, and style to make the joke unique while still talking about a topic used by other comics.There are two major ways a comedian can borrow/steal material from another comedian. One being the idea of the joke, and the other being the words that are said. The idea consists of the content, or conceptulization, of the joke. Two comedians can comment on the topic of traffic, for example, but when the subject lands into extreme specifics (example, traffic in Brooklyn at 3:00 a.m. on Wednesdays in July) the joke can be considered stolen. Words in the joke that are copied, not paraphrased is considered stolen — but even paraphrasing can been seen as stolen material.
Style also has a major par to do with standup comedy. A comedian sets the pace of his/her performance by emphasizing words and placing strategic pauses for comedic affect. A great way to see the difference is by watching a comedian tell the same joke in different ways. Comedian Aziz Ansari has a specific rhythm to his jokes, but for the film Funny People he was asked to play a comedian with a far different style than his own (Funny People). When the audience watches Ansari tell a joke as himself about Cold Stone Creamery he is does his traditional style (“Aziz Ansari on ColdStone.”). As his character Randy he takes up more space on the stage and doesn’t use as many words — there is an obvious difference in the characteristics (Funny People).
There isn’t an official moderator for joke telling. For the most part people take it upon themselves to sort out who is telling their own material. Actor and comedian, Joe Rogan is known for outing comedians who have lifted jokes from other comedians.
One incident of his moderator duties were on the television show “Last Comic Standing” where he argued with famous comedian Buddy Hackett over a joke told by contestant Ant Kalloniatis (Masaki). Rogan claimed that Kalloniatis took a joke from a scene in the 2000 film “Boiler Room,” but Hackett explained that comedian speak about the same topics all the time but it is their style that makes it unique (Masaki).
The most popular of Rogan’s call outs has been when he got up on stage during Carlos Mencia’s set and accused him of stealing jokes at the Comedy Store in Los Angeles. He even brought up other comedians on stage to give more proof (“Joe Rogan vs. Carlos Mencia”). “In February 2007, stand-up comedians Joe Rogan and Carlos Mencia squared off on stage at a prominent Los Angeles comedy club after Rogan accused Mencia — whom he dubbed “Carlos Menstealia” — of pilfering material from other comedians. A video of the altercation garnered more than 2 million views online and countless mentions on blogs and Web sites,” (Seal). The senario actually hurt Carlos Mencia’s career because the proof was so extensive that he has lost many fans by not owning up to repurposing other comedian’s work (Masnick).
Also, fans find ways to point out other comedians indiscressions. Youtube.com has become a place where fans can help others spot when a comedian has taken someone else’s material. In the case of the accusation against Dane Cook for stealing jokes from Louis C.K., fans put up sound clips of the original joke with attached information about the date the joke was released against a later version of the joke told by a different comedian (“Dane Cook Steals Jokes – Proof“).
Another way comedians can figure out if a joke is stolen or not is by confronting the other comedian. “The stand-up community also has enforcement methods for violators. The first step a comedian takes if he feels another is stealing his material is to go and talk to the suspected culprit…The two try to determine whether one of them has copied the joke from the other or whether they each came up with it independently,” (Seal).
In other art forms dealing with the subject of borrowing material, the medium can exude originality or authenticity. With comedy, the joke must be original and not resembling an original joke from another comedian. Of course, two comedians can speak about the same subject but joke telling has nothing to do with attribution or recognization of other comedians. Each comedian has a signature way of speaking and performing as well as the words they choose for each joke.
There has been some debate in the comedic community over whether or not a joke or concept is given ownership to any particular comedian because perhaps it all comes down to the audience. “Perhaps it’s not that no one cares, but that people just want to be entertained — and the person who first comes up with a joke isn’t necessarily as interesting as someone who is funniest with that joke,” (Masnick).
The situation regarding David Shield’s book “Realtiy Hunger” would never be tolerated in comedy. “’“Reality Hunger,’ a feisty literary ‘manifesto’ built almost entirely of quotations from other writers and thinkers,” (Kennedy). The lines are being used word for word, there isn’t any alteration, and there isn’t a change in the idea behind the concept. In this sense, standup comedy must be viewed as an art form moderated by the people within the community with standards of creating a unique set by the use of words, idea, and style.
Work Cited “Aziz Ansari on ColdStone.” Youtube. 19 Jan. 2007. Web. 19 Mar. 2010 Funny People. Dir. Judd Apatow. Universal Pictures. Television. 31 July 2009.
“Joe Rogan vs. Carlos Mencia.” Spike TV, Spike Digital Entertainment Inc. 14 Feb. 2007. Web. 19 Mar.2010
Kennedy, Randy. “The Free-Appropriation Writer.” The New York Times, The New York Times Company. 26 Feb. 2010. Web. 19 Mar. 2010
Masaki, Lyle. “When comedians attack: Ant vs. Joe Rogan.” After Elton. Logo Online, Web. 19 Mar. 2010
Masnick, Mike. “A Serious Look At Joke Stealing.” Techdirt. 19 Feb 2007. Web. 19 Mar. 2010
Seal, Rob. “To Catch a (Joke) Thief: Professors Study Intellectual Property Norms in Stand-up Comedy. ” Virginia Law, University of Virginia. 10 Dec. 2008. Web. 19 Mar. 2010
*** The Web sites would not copy into the work cited on tumblr
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Aziz Ansari on cold stone (part of reaction paper)
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Abstract 2
Laura Delarato
Abstract 2
Due: March 8, 2010
Prof. Wilder
T.A. Sanja Trpkovic
When Bad Girls Go Good: Models of the Self and Reality on VH1’s Flavor of Love Girls: Charm School
By Alice Holbrook and Amy E. Singer
This article explains that the ideas behind VH1’s Charm School contradict with the ideas that go into making a reality television program and the contestants that are on that show. The idea was to take the eliminated participants on VH1’s Flavor of Love and rehabilitate them back to living outside of being a celebrity. The article explicates the show wanted the contestants to gain a sense of self-perception, by understanding their own identity and their identity given to all those who watch the show, and for them to be able to separate themselves from the pedestal of celebridom. Audiences can see the difference between themselves and the celebrities they admire, but with reality television the lines are blurred so that viewers see that anyone can become a celebrity. Now that these contestants have pandered to the audience by being wrecklace on national television, they have to reverse the celebrity creation by teaching self-identity. Holbrook and Singer did cast interviews and called upon specific times in the show to see the self-reflective moments of the contestants. Also, they show that the contestants control their own reality on the show by comparing camera angles and reaction shots to other reality programming to argue whether or not a script was involved. The article should have touched more upon the nicknames given to the contestants and whether or not that could have played a role in their identity. The article gave a great understanding of a person’s relationship to a celebrity in reality television and how real life can be lost when you lose your self-identity to a life-like portrayal of yourself on a television show.
Key terms: identity, television, women, perception, contestants, reality, celebrity
Citation: When Bad Girls Go Good. By: Holbrook, Alice; Singer, Amy E.. Journal of
Popular Film & Television, Spring2009, Vol. 37 Issue 1, p34-43, 10p, 1 chart, 6
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Abstract 1
Laura Delarato
Abstract 1
Due: March 8, 2010
Prof. Wilder
T.A. Sanja Trpkovic
“Reading Gender Politics on The L Word The Moira/Max Transitions”
By Jennifer Reed
This article pertains to Daniela Sea’s character of Moira/Max on Showtime’s The L Word and the audience’s education on trans-identified development. The audience is first introduced to Moira as a female identified butch shifts identities as a queer trans boi — evoking the argument about the difference between being butch and being transgender. S/he’s progression is constantly defining and redefining the term butch, and how that plays in with different gender identities, as well as illustrating the process of transitioning. In the article, Reed identifies that education given to the mass amount of viewers to a variety of gender identities while providing a more articulate model of trans-identified lives; pointing out that female masculinity is not rewarded and the affects of losing the lesbian community for a female-to-male (FTM) person. Reed used character analysis and historical eras in lesbian/trans/feminism history to support her research; she also pinpointed dialogue from specific episodes to prove her case. However, I do think more outside research should have been done with actual FTM people to see if the television transition from Moira to Max is accurate. Though, Reed does provides a great debate of how gender identities are shown on television by using a popular television character to show the fluctuation of identity and the emotions surrounding that change.
Key terms: gender, transgender, trans-identified, butch, lesbian, transition, FTM
Citation: Reading Gender Politics on The L Word: The Moira/Max Transitions. By: Reed, Jennifer. Journal of Popular Film & Television, Winter2009, Vol. 37 Issue 4,
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Final, IA
Laura Delarato
Professor Wilder
Understanding Media Studies
1 March 2010
Intellectual Autobiography
My personal life is a direct influence on the way I want to study media by researching the psychological and phyical effects women have endured by being subject to unrealistic representations. Growing up, I was given a constant reminder by my family that a woman should come second to a man. My rebellion towards these comments were taken as disobedience instead of awareness, and I was left with my innate sense of humor to me keep company. In “Plotting Your Own Course” by Shannon Mattern, she explains that our inner-workings as a human help with starting our research and continuing our interests. “While this personal ‘baggage’ is commonly regarded as ‘bias’ that we must shed in order to achieve objectivity, Maxwell argues that ‘what you bring to the research from your background and identity’ can be conceived as a ‘valuable component of research’” (Mattern 2). Mostly, I would like to study comedic and plus size women, and the way we are represented and affected by television. While dealing with my family’s views, I was made very aware of the underrepresented average-size 10 and above, funny, opinionated woman on television. In my own definition, I see the ‘real woman’ as someone who is confident in themselves and doesn’t feel the need to change their image to be socially acceptable. According to Associated Content’s article “How to be a real woman,” the standard breaks down into five objectives: be strong, have confidence, figure yourself out, men don’t like projects, don’t compromise yourself (“How to be a real woman”). I don’t absolutely agree with Associated Content with all of their categories, but I’m more concerned with the media delineations. My discernment of the lack in representation has heightened the realization of the backlash that media has on women, and has made me want give television a better illustration of real women.
Other than my family’s influence, I also want to study media from a feminist point of view. My first realization of this passion is from all the female comedians I used to — and still — watch on television. Comedy is the only medium I saw women who weren’t . In 1995, there was a stand-up special entitled, Women of the Night that aired on HBO, hosted by comedian Tracey Ullman (Women of the Night ). The show featured an all-female cast that didn’t feel embarrassed to talk about their lives in explicitness. This show made me question why these women, with their problems and aspirations, were not represented on television. Even though this is not literature, Mattern describes interest by saying that “Perceived “holes in the literature” (or mediagraphy) have inspired many a dissertation” (Mattern 3).
The part of me that wants to write for television came from my many internships and leadership experiences. While at Pace University, where I got B.A. in both English and Women’s Studies, I acquired a multitude of professional experience that has given me an advantage in understanding production and research within a media realm. During all my internships, I have been named Arts Editor and Associate Editor for Pace University’s collegiate newspaper, The Pace Press, giving me experience in media and journalism. For four years, I wrote anywhere from two to five articles a week ranging throughout the four sections — news, features, arts, opinions. My first internship came from a media company called MediaBistro where I helped run the Web site and work along the production team to create the web videos. After, I interned at CosmoGirl! Magazine I published a two-page story in the August 2008 issue while being an active member of the Web team. I wasn’t very happy with my time there because I thought I was going to be boosting the confidences of the young women that read their pages, and instead it was a day-to-day reminder that the media really distorts the way we view women. According to HealthyPlace.com, “Experts agree that trying to achieve the “perfect” female body image seen on TV and magazines is leading an increasing number of teens to develop eating disorders such as bulimia and anorexia nervosa” (“Body-Image Distortion a Growing Problem Among Women and Men.”). It was then when I interned at the editorial and art departments of Playgirl Magazine. There, I learned the value of being appropriate while dealing with inappropriate story topics and photos. It was, however, a great insight into writing for a different genre as well to a readership of women over the legal age. From there, I decided to intern at the famous satirical newspaper The Onion — and found myself really enjoying the process of writing jokes. During my time there, I prided myself in being able to come up with ideas as fast or faster than the male-majority of the office and being one of three female interns out of the twenty-five they hire every semester. After working for print, I decided to intern at Viacom where I really liked the idea of writing for television and the process that it entails.I completed two internships at MTV Networks with the production department of mtvU and the Operations department of MTV/VH1 in one semester. Working for two channels under the big umbrella of Viacom has helped me learn the value of a well-made and handled product by giving me the opportunity to assist on filming TV shows, video editing and writing for on-air copy. Also, it has allowed me to work and learn from the top producers, writers and administrators in the field.
By taking what I learned from all my real world experience, I want to contribute a better awareness to the image of real women through television. This will stop perpetuating the idea that women have to look a certain way to be happy. “Images of female bodies are everywhere. Women—and their body parts—sell everything from food to cars. Popular film and television actresses are becoming younger, taller and thinner. Some have even been known to faint on the set from lack of food. Women’s magazines are full of articles urging that if they can just lose those last twenty pounds, they’ll have it all—the perfect marriage, loving children, great sex, and a rewarding career” (“Beauty and Body Image in the Media”). This way, women of any age will be able to see a better representation of the wide variety of personalities and bodies we have yet to utilize on television. I, also, want to challenge the networks to put a female perspective on their shows. The Late Show with David Letterman recently hired a female writer, which is a first for late-night talk shows (Harris). There was an article in The New York Times titled “Among Late-Night Writers, Few Women in the Room” that was published in November of 2009 that talked about how there were barely any female writers on these shows
(Carter).
The methods I’m using to accomplish my aspirations are through personally motivating myself to write about the things that bother me or make me laugh. I find myself over thinking whether or not something is worth writing, and I need to just write. Also I need to understand design and production programs so that if I do create something for television I will be able to be apart of all the creative processes, which is why I plan to take as many production courses as I can while I am at The New School. Another method I have to use, and teach myself to use, is organization with my ideas and research. American sociologist C. Wright Mills in The Sociological Imagination talks about re-arranging your filing system. “Imagination is often successfully invited by putting together hitherto isolated items, by finding unsuspected connections,” he wrote (Mills, 201). I, as well, need to be more apt to performing my ideas via improv classes. Most comic writers are comedians in some way, and it would be beneficial for me to start performing. My first foray into accomplishing my goals is to keep up with the play I’m writing, which is a series of monologues each describing a woman — funny, upset, big, small — that has not been represented on television. My method for this process is to interview different women ranging in age, race, physical appearance, and telling their stories on stage.
There are definitely women attempting to accomplish what I want to, and possibly with the methods I’m using. Tina Fey is a great present example of a woman making it in comedy writing because she “is one of the leading voices in a new generation of comediennes — women who not only play comic roles but also perform stand-up and write and direct comedy” (Stanley). While I do believe she is making great strides for women like me who want to break into that realm, I still think there needs to be a variety of different types of women on television. From a personal point of view, I’m tired of seeing well-off ignorant women and pristine teenage girls battling with whether or not to have sex with their boyfriend on television. By the time I graduate I’d like to have written a pilot for a television show challenging the vapid image of today’s woman. Also, I would like my untitled play completed and ready for production. My two starting points will then lead me to a career of television writing, activism, and reveling in the fact that I’m giving all women a voice to be who they are — especially funny.
Work Cited“Beauty and Body Image in the Media.” Media Stereotyping. Media Awareness
Network. 2009. Web. 12 Feb. 2010. <http://www.media-
awareness.ca/english/issues/stereotyping/women_and_girls/women_beauty.c
fm>.“Body-Image Distortion a Growing Problem Among Women and Men.” Heathy Place
Communities. HealthyPlace.com. 10 Dec. 2008. Web. 11 Feb. 2010.
<http://www.healthyplace.com/eating-disorders/main/body-image-distortion-
a-growing-problem-among-women-and-men/menu-id-58/>.Carter, Bill. “Among Late-Night Writers, Few Women in the Room.” The New York
Times. The New York Times Company, 11 Nov. 2009. Web. 12 Feb. 2010.
<http://www.nytimes.com/2009/11/12/business/media/12women.html>Harris, Lynn. “Late-night’s real problem.” Salon.com. Salon Media Group, 10 Jan.
2010. Web. 12 Feb. 2010.
<http://www.salon.com/books/women_writers/index.html?story=/mwt/featur
e/2010/01/10/women_writers_late_night>.“How to be a real woman.” Associated Content. Associated Content. 24 Feb. 2007.
Web. 11 Feb. 2010.
<http://www.associatedcontent.com/article/149567/how_to_be_a_real_wom
an.html>.Mattern, Sharron. “Plotting Your Own Course: Identifying Your Interests and
Establishing a Research Plan.” Understanding Media Studies. The New School
Blackboard Resources. 1 Feb. 2010. Web. 8 Feb. 2010.Mills, C Wright. The Sociological Imagination. New York: Oxford University Press,
1959. Print.
Stanley, Alessandra. “Who Says Women Aren’t Funny?” Vanity Fair. Condé Nast
Digital, Apr. 2008. Web. 12 Feb. 2010.
<http://www.vanityfair.com/culture/features/2008/04/funnygirls200804>.Women of the Night. Dir. Sue Wolf. Host Tracey Ullman. HBO. 1995. Television.
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Learning to do this!
