Bibliografías temáticas / How to get away with murder (Television program)

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Literatura académica sobre el tema "How to get away with murder (Television program)"

Autor: Grafiati
Publicado: 26 de julio de 2024
Última modificación: 31 de julio de 2025

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Artículos de revistas sobre el tema "How to get away with murder (Television program)"

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Martens, Emiel, and Débora Póvoa. "How to get away with colour." Alphaville: Journal of Film and Screen Media, no. 13 (July 20, 2017): 117–34. http://dx.doi.org/10.33178/alpha.13.07.

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The popular American television series How to Get Away with Murder (2014) seems to challenge the long history of stereotypical roles assigned to racial minorities in American media by choosing a multiracial cast to impersonate characters that, while having different racial backgrounds, share a similar socio-economic status and have multidimensional personalities that distance them from the common stereotypes. However, although it has been praised for its portrayal of racial diversity, the series operates within a problematic logic of racial colour-blindness, disconnecting the main characters f
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Różalska, Aleksandra. "Transgressing the Controlling Images of African-American Women? Performing Black Womanhood in Contemporary American Television Series." EXtREme 21 Going Beyond in Post-Millennial North American Literature and Culture, no. 15 (Autumn 2021) (November 20, 2021): 273–90. http://dx.doi.org/10.7311/pjas.15/2/2021.07.

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Drawing from intersectionality theories and black feminist critiques of white, masculinist, and racist discourses still prevailing in the American popular culture of the twenty-first century, this article looks critically at contemporary images of African-American women in the selected television series. For at least four decades critics of American popular culture have been pointing to, on the one hand, the dominant stereotypes of African-American women (the so-called controlling images, to use the expression coined by Patricia Hill Collins) resulting from slavery, racial segregation, white r
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BAKŞİ YALÇIN, Olgahan, and Sultan KOMUT BAKINÇ. "Angels in America ve How to Get Away with Murder başlıklı eserlerde gizlilik ve ifşaat." RumeliDE Dil ve Edebiyat Araştırmaları Dergisi, June 21, 2022. http://dx.doi.org/10.29000/rumelide.1132589.

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The emergence of various sexual subcultures and communities is part of a larger process that has characterized the twentieth century, resulting in ever-growing social complexity and social differentiation. This differentiation process has produced “a new pluralism of class, ethnic, racial and cultural forms as well as a diversity of gender and sexual experiences,” as Jeffrey Weeks puts it in his work, Sexuality (1986, p. 75). Angels in America (1992-1995) by Tony Kushner is a play set in America in the 1980s against a backdrop of conservatism, sexual politics, and a new mysterious disease: AID
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Kincheloe, Pamela. "Do Androids Dream of Electric Speech? The Construction of Cochlear Implant Identity on American Television and the “New Deaf Cyborg”." M/C Journal 13, no. 3 (2010). http://dx.doi.org/10.5204/mcj.254.

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Cyborgs already walk among us. (“Cures to Come” 76) This essay was begun as a reaction to a Hallmark Hall of Fame television movie called Sweet Nothing in My Ear (2008), which follows the lives of two parents, Dan, who is hearing (played by Jeff Daniels), and Laura, who is deaf (Marlee Matlin), as they struggle to make a decision about whether or not to give their 11-year-old son, Adam (late-deafened), a cochlear implant. Dan and Laura represent different perspectives, hearing and deaf perspectives. The film dramatizes the parents’ conflict and negotiation, exposing audiences to both sides of
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Fletcher, Gordon. "An Index of Fame?" M/C Journal 7, no. 5 (2004). http://dx.doi.org/10.5204/mcj.2418.

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This paper discusses the presentation of fame that can be identified through popular search terms. These terms reveal how the rapidly shifting interest in individual identities of ‘fame’ are cast against a continuous sequence of expected and unexpected events including movie releases, annual holidays, murders and terrorist attacks. The central claim of this paper is that fame is continuously reconstituted across a wide spectrum of cultural experiences and actions. Fame is attached to individuals as a personification of mainstream cultural fascination with specific events – whether manufactured
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Beare, Alexander Hudson. "Prosthetic Memories in The Sopranos." M/C Journal 22, no. 5 (2019). http://dx.doi.org/10.5204/mcj.1586.

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In the HBO series The Sopranos, Tony and his friends use “prosthetic memories” to anchor their ethnic and criminal identities. Prosthetic memories were theorised by Alison Landsberg in her book Prosthetic Memory: The Transformation of American Remembrance in the Age of Mass Culture. She argues that prosthetic memories are memories acquired through the mass media and do not come from a person’s lived experience in any sense (Landsberg 20). In this article, I will outline how The Sopranos television show and its characters interact with prosthetic memories. Extending Christopher Kocela’s work on
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Rodan, Debbie. "Bringing Sexy Back: To What Extent Do Online Television Audiences Contest Fat-Shaming?" M/C Journal 18, no. 3 (2015). http://dx.doi.org/10.5204/mcj.967.

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The latest reality program about weight loss makeover, Australian Channel Seven’s Bringing Sexy Back maintained the dominant frame of fat as bad, shameful and unsexy. Similar to other programs’ point of view, only slim bodies could claim to be healthy and sexy. Conversely the Fat Acceptance movement presents fat as beautiful, sexy, and healthy. But what did online audiences in 2014 think about Bringing Sexy Back? In this article online-viewer-generated comments are analysed to find out: a) whether audiences challenged and contested the dominant framing; and b) what phrases did they use to do t
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Hutcheon, Linda. "In Defence of Literary Adaptation as Cultural Production." M/C Journal 10, no. 2 (2007). http://dx.doi.org/10.5204/mcj.2620.

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 Biology teaches us that organisms adapt—or don’t; sociology claims that people adapt—or don’t. We know that ideas can adapt; sometimes even institutions can adapt. Or not. Various papers in this issue attest in exciting ways to precisely such adaptations and maladaptations. (See, for example, the articles in this issue by Lelia Green, Leesa Bonniface, and Tami McMahon, by Lexey A. Bartlett, and by Debra Ferreday.) Adaptation is a part of nature and culture, but it’s the latter alone that interests me here. (However, see the article by Hutcheon and Bortolotti for a discussi
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Peterson, Mark Allen. "Choosing the Wasteland." M/C Journal 5, no. 5 (2002). http://dx.doi.org/10.5204/mcj.1985.

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To listen to them talk, you'd think most Americans hate television. Everyday discourse about television abounds with condemnation of television content. Television is a wasteland, a stream of idiotic material insulting to the intelligence of the viewer. When people deem a particular program worth watching, they often articulate it in contradistinction to the vast majority of awful stuff out there. This almost universal discourse of condemnation does not mean Americans do not watch television, of course. They do, and they watch a great deal of it. Thus we have a conundrum. If it is so awful, wh
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Brien, Donna Lee. "The Real Filth in American Psycho." M/C Journal 9, no. 5 (2006). http://dx.doi.org/10.5204/mcj.2657.

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 1991 An afternoon in late 1991 found me on a Sydney bus reading Brett Easton Ellis’ American Psycho (1991). A disembarking passenger paused at my side and, as I glanced up, hissed, ‘I don’t know how you can read that filth’. As she continued to make her way to the front of the vehicle, I was as stunned as if she had struck me physically. There was real vehemence in both her words and how they were delivered, and I can still see her eyes squeezing into slits as she hesitated while curling her mouth around that final angry word: ‘filth’. Now, almost fifteen years later, the
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Libros sobre el tema "How to get away with murder (Television program)"

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Foster, Valerie Jacklynn. How to get away with murder: The influence of the CSI effect on homicide investigations. National University, 2018.

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L'immaginario contemporaneo: La grande pro-vocazione delle serie Tv. Mimesis, 2018.

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Ames, Melissa. Small Screen, Big Feels. University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813180069.001.0001.

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While television has always played a role in recording and curating history, shaping cultural memory, and influencing public sentiment, the changing nature of the medium in the post-network era finds viewers experiencing and participating in this process in new ways. They skim through commercials, live tweet press conferences and award shows, and tune into reality shows to escape reality. This new era, defined by the heightened anxiety and fear ushered in by 9/11, has been documented by our media consumption, production, and reaction. In Small Screen, Big Feels, Melissa Ames asserts that TV ha
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4

Sulimma, Maria. Gender and Seriality. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474473958.001.0001.

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The notion of seriality and serial identity performance runs as a strong undercurrent through feminist theory, gender studies and queer studies. Defining gender as a serial and discursively produced entanglement of different practices and agencies, Gender and Seriality argues that serial storytelling can offer such complex negotiations of identity that the ‘results’ of televisual gender performances are rarely separate from the processes that produce them. As such, gender performances are not restricted to individual television programmes themselves, but are also located in official paratexts,
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Johnson, Malynnda A. HIV on TV. The Rowman & Littlefield Publishing Group, 2018. https://doi.org/10.5040/9781666998924.

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In the 80’s and 90’s it was Designing Women and The Real World, today it’s Grey’s Anatomy and How to Get Away with Murder. 35 years since HIV hit prime time it remains a hot topic for TV producers to include in storylines. While the motivation behind creating an HIV narrative is sometimes the disseminate facts about HIV and STIs, far more often it is the sexy ratings a show can receive by including a “taboo” or controversial topic. As a result, while some education is provided to audiences, far more shows are found only perpetuating misinformation and stereotypes. As a result viewers, young po
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Capítulos de libros sobre el tema "How to get away with murder (Television program)"

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Sulimma, Maria. "The Looped Seriality of How to Get Away with Murder." In Gender and Seriality. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474473958.003.0005.

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For its conceptualization of How to Get Away with Murder’s serial storytelling as looped seriality, the chapter highlights the show’s investment in temporal loops, as well as the loops between viewer responses and the show itself, recalling the “feedback loop” of seriality studies. The research of feminist audience studies, for example, on soap operas, feminized ‘guilty pleasures,’ fandom, or viewer communities, provides relevant starting points. Additionally, the chapter utilizes methodological conceptions of ‘Black Twitter,’ second screen viewing, and social television. Three areas emerge as
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Sulimma, Maria. "Evoking Discourses of Progressivism, Social Activism, and Identity Politics: Such an Important Episode!" In Gender and Seriality. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474473958.003.0007.

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The chapter demonstrates how with How to Get Away with Murder network channel ABC stakes its claim to the ‘brand’ of politically progressive television, and by doing so, it joins a group of shows interested in exploring gender as intersectional and highlighting televisually – and socially – marginalized identities. To claim to be a part of a discourse of progressivism, social activism, and identity politics, a serialized television show has to keep up with current developments and needs the affirmation of certain institutions as well as their viewers’ acknowledgment of its exceptionality and p
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Barker, Cory. "From Tgif to #Tgit." In Social TV. University Press of Mississippi, 2022. http://dx.doi.org/10.14325/mississippi/9781496840929.003.0002.

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Chapter 1 explores a beneficiary of television-social media partnerships: ABC's Shonda Rhimes dramas Grey's Anatomy, Scandal, and How to Get Away with Murder, known by their unified branding, #TGIT (or Thank God It's Thursday). Surveying social media ephemera and publicity materials, the chapter examines how the live-tweeting of Scandal inspired ABC to develop a multi-platform campaign that centered fan chatter and enthusiasm. As live-tweeting campaigns, on-screen hashtags, and celebrity participants directed audience attention across screens, ABC underscored the aura of a collective and synch
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Mbinjama-Gamatham, Adelina. "#BlackGirlMagic." In Advances in Media, Entertainment, and the Arts. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-4778-6.ch007.

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This chapter explores the relevance of Immanuel Kant's categorical imperative to critique the unintended, subliminal evil representations in Shonda Rhimes's work. Kant's moral theory is used to re-think evil in the way that Rhimes portrays Annalise Keating (Viola Davis) in How to Get Away with Murder (2014-) as an influential defense attorney and law professor who goes to extreme lengths to get what she wants, even if her behavior is considered bad or evil. This chapter argues that Rhimes's work challenges the systemic racism and stereotypical portrayals of Black women in television, as she no
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Sulimma, Maria. "Outward Spiral: Gendering through Recognisability." In Gender and Seriality. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474473958.003.0006.

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The chapter focuses on How to Get Away with Murder’s black, female protagonist Annalise Keating, and in different sections provides readings of beauty and professional appearance (in contrast with Alicia Florrick of The Good Wife), and bisexual orientation. The chapter employs the analytical figure of the outward spiral to capture the affective, immediate responses the show encourages. Spiral gendering permits Murder to mine intersectional characterizations for cultural resonance with viewers. Murder’s gender performances begin from starting points such as the racialized tropes of black femini
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Martin-Jones, David. "Learning: Columbo vs Modernity." In Columbo. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474479790.003.0005.

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The key question addressed in this chapter is, why are there so many machines in Columbo? Technology is often integral to the crime itself, and knowledge of how it works is vital to Columbo’s ability to solve the murder. Columbo’s proactive engagement with the rapid technological advances of modernity – his learning about new machinery – indicates the perpetual labour needed to avoid obsolescence in a hi-tech world. Columbo, constantly “upgrading” his technological knowledge to pay attention productively is an ‘entrepreneur of the self’ (Lazzarato 2014: 52), a mode of work-engaged subjectivity
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