You know how I know you're gay? : masculinity and homophobia in mainstream comedy

You Know How I Know You're Gay?: Masculinity and Homophobia in Contemporary Mainstream Comedy is a three-part senior scholars project that consists of a critical analysis of homophobic humor in contemporary mainstream comedy, an original feature-length comedy script entitled Don 't Be that Freshman, and a DVD of selected scenes from Don't Be that Freshman. The critical analysis first establishes the existence of homophobic humor in mainstream comedy and then links this homophobia to masculine anxiety, applying the ideas set forth in Michael Kimmel's essay, "Masculinity as Homophobia," to contemporary, mainstream, homosocial comedies. The paper goes on to examine audience reactions to this homophobic humor, focusing on audience members who enjoy these movies, yet consider themselves to be accepting of homosexuality and against homophobia. I discuss ways of resistance and the importance of opposing homophobic humor, and finally, I look at comedy as a potentially transgressive medium that could be used to fight homophobia and social inequality. The critical analysis, therefore, leads into Don't Be that Freshman, a film that uses progressive humor to oppose homophobia and expose the potential dangers and pitfalls of conforming to social constructions of gender. Don't Be that Freshman is a film about three pairs of college roommates in their first semester at college who become each other's first friends on campus. It is a character-driven comedy that attempts to normalize non-heterosexual sexual orientation and gender non-conformity, to advocate a type of living that does not conform to problematic social constructions and cultural ideologies, and at the same time to appeal to a mainstream audience. The film version is twenty-five minutes long and consists of ten scenes from the script.

Kikulacho [videorecording] =: The bite within

This documentary shows how Kenyan leaders are to blame for the social injustices suffered by Kenyans since the attainment of independence from the British. The issue of land and land clashes, corruption, irregularities in elections and the constitution are some of the highlights of this documentary.

Wale watu

"Paul and Mary are two people who are from different tribes and deeply in love. Their families share a close relationship and everything looks well for their wedding. However, with the out break of the post-election violence. Dr. Sawega, Paul's father, loses his clinic and his brother through arson. Stoked by politicians and tribalists, things get tense between the two families and the entire nation."--Spaceyangu.com.ar

Man dem nor glady'o

A documentary examination of the causes of and responses to the civil war in Sierra Leone, as well as whether future conflict can be avoided in an environment of poverty and corruption.

Kenneth Matiba

The story of the life and times of Kenneth Matiba -- businessman, entrepreneur, sports team executive, and a former government minister and politician during tumultuous times in Kenya.

Terra sonâmbula [videorecording] =: Sleepwalking land

Young Muidinga is desperate to find the family he lost while his country Mozambique was in civil war. He finds a diary that recounts the story of a woman on a ship who is searching for her son. Convinced that he is her son, Muidinga decides to find her with the help of wise guardian Tuahir.

Half of a yellow sun

A beautiful sweeping story of two sisters caught up in the events of the Nigerian civil war, ending in chilling violence which shocked the entire world.

Ijé: the journey

Chioma, a child growing up in the Nigerian countryside, warned her restless sister, Anya, about the trappings of the American Dream. In "Ijé: The Journey" movie, ten years later, Anya is accused of killing 3 men in a Hollywood Hills mansion - one of them her record-producer husband. Chioma travels from Nigeria to Los Angeles, and with the help of a young attorney, discovers that the dark secret her sister wants to keep hidden might be the only thing that can win her freedom.

The cathedral

In Port Louis, Mauritius, a young woman in search of her identity interacts with friends and family in a carefree manner until a stranger, a photographer, sees her dancing in front of the cathedral.

In and out of Africa

"During the colonial period in the 1920's, European interest in collecting African art stimulated a transnational trade between Africa and the West. Today this multi-million dollar trade lies largely in the hands of Muslim merchants. This is a story about Gabai Baare, a merchant who brings 'wood' from West Africa to sell in the United States. It is a story about the meaning of art"--Opening credits.

Documentary practice in a participatory culture

Debates concerning the veracity, ethics and politics of the documentary form circle endlessly around the function of those who participate in it, and the meaning attributed to their participation. Great significance is attached to the way that documentary filmmakers do or do not participate in the world they seek to represent, just as great significance is attached to those subjects whose participation extends beyond playing the part of eyewitness or expert, such that they become part of the very filmmaking process itself. This Ph.D. explores the interface between documentary practice and participatory culture by looking at how their practices, discursive fields and histories intersect, but also by looking at how participating in one might mean participating in the other. In short, the research is an examination of participatory culture through the lens of documentary practice and documentary criticism. In the process, however, this examination of participatory culture will in turn shed light on documentary thinking, especially the meaning and function of ‘the participant’ in contemporary documentary practice. A number of ways of conceiving of participation in documentary practice are discussed in this research, but one of the ideas that gives purpose to that investigation is the notion that the participant in contemporary documentary practice is someone who belongs to a participatory culture in particular. Not only does this mean that those subjects who play a part in a documentary are already informed by their engagement with a range of everyday media practices before the documentary apparatus arrives, the audience for such films are similarly informed and engaged. This audience have their own expectations about how they should be addressed by media producers in general, a fact that feeds back into their expectations about participatory approaches to documentary practice too. It is the ambition of this research to get closer to understanding the relationship between participants in the audience, in documentary and ancillary media texts, as well as behind the camera, and to think about how these relationships constitute a context for the production and reception of documentary films, but also how this context might provide a model for thinking about participatory culture itself. One way that documentary practice and participatory culture converge in this research is in the kind of participatory documentary that I call the ‘Camera Movie’, a narrow mode of documentary filmmaking that appeals directly to contemporary audiences’ desires for innovation and participation, something that is achieved in this case by giving documentary subjects control of the camera. If there is a certain inevitability about this research having to contend with the notion of the ‘participatory documentary’, the ‘participatory camera’ also emerges strongly in this context, especially as a conduit between producer and consumer. Making up the creative component of this research are two documentaries about the reality television event Band In A Bubble, and participatory media practices more broadly. The single-screen film, Hubbub , gives form to the collective intelligence and polyphonous voice of contemporary audiences who must be addressed and solicited in increasingly innovative ways. One More Like That is a split-screen, DVD-Video with alternate audio channels selected by a user who thereby chooses who listens and who speaks in the ongoing conversation between media producers and media consumers. It should be clear from the description above that my own practice does not extend to highly interactive, multi-authored or web-enabled practices, nor the distributed practices one might associate with social media and online collaboration. Mine is fundamentally a single authored, documentary video practice that seeks to analyse and represent participatory culture on screen, and for this reason the Ph.D. refrains from a sustained discussion of the kinds of collaborative practices listed above. This is not to say that such practices don’t also represent an important intersection of documentary practice and participatory culture, they simply represent a different point of intersection. Being practice-led, this research takes its procedural cues from the nature of the practice itself, and sketches parameters that are most enabling of the idea that the practice sets the terms of its own investigation.

Observations on the spawning behavior of artificially matured Japanese eels Anguilla japonica in captivity

Spawning behavior of artificially matured Japanese eels Anguillo japonica in captivity was investigated using a DVD Video image system. Following a routine hormone treatment technique for this fish, female eels were artificially matured by weekly intramuscular injections of salmon pituitary extracts (SPE) at a dosage of 40 mg kg(-1) BW for a total of 7-11 doses to induce ovarian maturation, while male eels received weekly intramuscular injections of human chorionic gonadotropin (HCG) at a dosage of 1000 IU kg(-1) BW for a total of 6-11 doses at 18 degrees C to induce testicular maturation in a separate aquarium. In this experiment, three pairs of such hormone-treated matured eels were acclimatized in seawater in 1.5 m(3) experimental aquaria with or without shelters at 20 degrees C for 24 h. Twenty four hours after the acclimatization terminated, the females received SPE injections to boost maturation and ovulation. Twenty four hours following these injections, the females received injections of HCG (1000 IU per fish, HCG injection) and 17 alpha-hydroxyprogesterone (2 mg per fish) to induce ovulation, while males were given HCG injections (1000 IU per fish, HCG injection) to induce spermiation. Video taping started after the 24 h acclimatization terminated and last for a total of 96 h. Before the HCG injections, both sexes were inactive, staying on the bottom or in shelters if available. Following these HCG injections, they became active and frequently left the bottom swimming in the water column. During the 24 h following HCG injections, activity accounted for 67% and 45% of the total activity in no shelter treatment for females and males, respectively, in comparison with 77% and 78% in shelter treatment. Activity was significantly more pronounced during this phase than during other phases for each sex in either shelter treatment. Egg release and sperm ejection occurred in the water column around the time eels' activity reached peaks. Eels either returned into the shelters or stayed motionlessly on the bottom of the aquaria after egg release and sperm ejection. Eight out of nine (89%) females in no shelter treatment spontaneously released eggs with a total of 11 batches 14-18 h following HCG injections, in contrast with four out of nine (44%) females releasing eggs for 4 batches 16-20 h in shelter treatment. Males arrived at activity peaks 11-13 h following HCG injections in no shelter treatment, 2-4 h ahead of the females (14-16 h), in comparison with 8-11 h in shelter treatment with 5-6 h ahead of the females (14-17 h). Courtship behavior indicative of spawning such as pairing, chasing and touching bodies was not observed in the eels in this study. However, on many occasions, eels of both sexes (male-female or female-female) were found to "cruise together" in water column for a short time period or frequently come together prior to releasing eggs and ejecting sperm, suggesting the possibility of group mating in artificially matured Japanese eels. (c) 2007 Elsevier B.V. All rights reserved.

Keys: Kenya youth scenarios, 2011

Kenya youth scenarios are projections of alternative pathways into the future that explore the dynamic interaction between the social, political, technological, environmental and economic forces operating within a given context (such as a nation or local communtiy). It is important to note that scenarios are not predictions of what will happen, but rather, identify what may happen.

Skin Awareness DVD

The Skin Awareness DVD is a component of the research project 'The Skin Awareness Study'. This study is a randomozed controlled trial assessing the effectiveness of a video-delivered intervention designed to increase the prevalence of skin self-examinations and rapid presentation to a doctor among men 50 years and above.

DVD的三种可重写光盘格式

简要地介绍和讨论了DVD的三种可重写光盘即DVD-RW、DVD+RW和DVD-RAM的特点和格式。