Friend 1
Arnold Friend
Bill Lord
ENG 112 049A
20 April 2016
Annotated Bibliography
Abstract
The purpose of this research is to analyze the gender roles portrayed in Rudolph the Red-Nosed
Reindeer and compare them to the gender roles of the same time period the film was produced as
well as the modern adaptation of the film Rudolph the Red-Nosed Reindeer and the Island of
Misfit Toys with the corresponding time period. The process of the research involves reviewing
the films and using secondary sources to supplement what American society expected of women
in the 1960’s and 1970’s and how women were viewed in other children’s television programs
such as Mister Ed and in the sitcom, Mary Tyler Moore. I will also look into personality
characteristics that are identified as either masculine or feminine and the consequences of
misogyny in the media. I’ve discovered that television programs often reflect society’s image of
the ideal woman for their time period, like analyzing ancient art such as the Venus of Willendorf.
Primary Sources
Rudolph the Red-Nosed Reindeer. Dir. Larry Roemer. Videocraft International, 1964. DVD.
This Christmas classic is a stop-motion film about a reindeer named Rudolph who faces rejection
from his peers because of his red nose. He runs away from home and teams up with another
outcast, an Elf named Hermey. They have adventures travelling together and find the Island of
Misfit Toys and meeting Yukon the prospector and the Abominable Snow Monster.
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Rudolph the Red-Nosed Reindeer and the Island of Misfit Toys, Dir. Bill Kowalchuk. Goodtimes
Entertainment, 2001. DVD.
Rudolph is told by a Queen Camilla the hippopotamus that she can make his nose look normal.
Rudolph wants to intervene on an evil toy maker’s plan to steal all the toys from the Island of
Misfit Toys.
Secondary Sources
Baker, Kaysee, and Arthur A. Raney. "Equally Super?: Gender-Role Stereotyping Of
Superheroes In Children's Animated Programs." Mass Communication & Society 10.1
(2007): 25-41. Academic Search Complete. Web. 11 Apr. 2016.
Superheroes are usually given masculine qualities. This article analyzes how superheroes are
given stereotypical characteristics based on gender. The effects of the portrayals of superheroes
in television to young viewers are analyzed in tables that present data on attributes such as
emotionality, independence and assertiveness. This journal is useful because it presents
organized data that can be applied to the Rudolph films when searching for characteristics that
are generally identified as masculine as well as the ones that are identified as feminine. Male
superheroes outnumber female superheroes by almost two to one. Even the non-superhero males
have muscular bodies when females have an average body. When female superheroes are given
the same traits as the males such as aggressiveness and intelligence, they still retain their
emotionality and beauty. Animated female superheroes are similar to the way women are often
portrayed in music and live action television shows by being superficial.
Dow, Bonnie J. Prime-Time Feminism USA: University of Pennsylvania Press. 1996. Print.
Prime-Time Feminism analyzes television shows such as Mary Tyler Moore to highlight feminist
representations and the relationship with the media and feminism in society. She explores
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feminism in then1970’s and aspects of post-feminism. The post feminism shows such as Murphy
Brown are compared to Mary Tyler Moore to point out how far women have come since the
second feminist movement. The usefulness of this source is to review to have a better
understanding of the dynamics of feminism in television and how to relate it to feminism off the
screen. Whether it is comparing the personalities of the leading women to what was
expected of them during the time or seeing how the role of a woman has evolved over
time to be more independent, demanding and unapologetic.
Generation M: Misogyny in Media and Culture. Dir. Thomas Keith. The Media Education
Foundation. 2008. DVD.
This documentary looks into the misogyny that still exists in American culture and the criticism
feminism and women still receive. Thomas Keith focuses specifically on how the media warps
the definition of feminism and looks into sexism expressed in the music industry as well as the
results of the exposure of misogyny being portrayed in a positive light. This includes the double
standard of misogyny being acceptable in music and video games but if it was replaced with
racism, it would be faced with backlash and criticism. Barbie dolls are sexualized to the point of
having lingerie as an outfit. Women that have a profession in news reporting have to appear
attractive and young to keep their career. Misogyny is still rampant and socially acceptable even
in the 21st century.
Gorman, Jacqueline L. The Modern Feminist Movement. England: Bailey Publishing Associates
Ltd., 2011. Print.
This book covers the second wave feminist movement that occurred in the 1960’s as well
outlines the struggles and triumphs looking to find equality in opportunity for employment
in male dominated careers in places such as business, law, and sports. It explains what was
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generally expected from women which was to be homemakers for their husbands and children
and highlighting how limited their options in lifestyles were. Women in the media were
portrayed as superficial, ditzy and were not responsible with money. The typical family in the
early 1960’ still consisted of women being mostly unemployed and housewives. The Civil
Rights Act was passed in 1964 was important because it prohibited workplace discrimination
against women.
Shillinglaw, Ann. "Mister Ed Was a Sexist Pig." Journal Of Popular Culture 30.4 (1997): 245254. Academic Search Complete. Web. 11 Apr. 2016.
In this academic journal, Shillinghaw investigates the impact of Mister Ed has on female
children who identify with males in the series as opposed to the females. The males are often the
protagonists and are made to be the center of the television series. This article is useful because
Mister Ed was also a children’s series that aired in the 1960’s that lacked strong or interesting
female characters that children could relate or look up to. Carol, Wilbur’s wife is usually
portrayed as the antagonist in the episodes and it is often implied that Wilbur would rather spend
time with a talking horse than he would with his wife. During the time this television series was
being aired, married women were beginning to look for jobs and become less financially
independent from their husbands. Women in the show were also seen as materialistic and
manipulative while feminizing their husbands through their bond in marriage.
YourLastName 1
Your Name
Bill Lord
Course/Section number
Due Date
Annotated Bibliography
Abstract
Remove all instructions and examples from this template before you print it out. Here you write
a 100-150 word summary of the questions you are pursuing in your essay. What do you aim to
learn in your research? Describe the process of your research so far. How did you find your
sources? Is there anything particularly interesting that you have already discovered?
Primary Sources
Primary Sources are the texts or films you are writing about, e.g. “The Raven” or Smoke Signals.
List the bibliographic data, and 1-3 sentences of summary. Not every essay will have primary
sources.
Example:
Ed Wood. Dir. Tim Burton. Perf. Johnny Depp, Martin Landau, Sarah Jessica Parker, Patricia
Arquette. Touchstone, 1994. DVD.
Burton’s film is a humorous and stylistic look at the moviemaking methods of Ed Wood and his
production of Plan 9 from Outer Space, notorious for being one of the worst movies ever filmed.
Secondary Sources
These are the texts that are about your text, e.g. a criticism of “The Raven,” or an interview with
one or more authors. List the bibliographic data for at least five sources you plan to quote; using
YourLastName 2
100-150 words, provide a brief but specific summary, including a description of its strengths and
weaknesses, as well as its usefulness (or uselessness) to your essay.
Examples:
Alvin Ailey, James Baldwin, Romare Bearden, Albert Murray. “To Hear Another Language.”
Callaloo, Vol. 24, No. 2, The Best of Callalo Prose: A Special 25th Anniversary Issue
(Spring, 2001), pp. 656-677. Web. 28 Mar 2012.
In this interview, Ailey, Baldwin, Bearden, and Murray discuss their mutual admiration for each
other and the influences they had on each other’s work. Ailey, as the youngest of the four, does
not speak as much; he asks questions and listens to the other three as they discuss, among other
things, Paris in the ‘50s, anecdotes relating to other artists they have known, and the influence of
the blues on all of their works. These topics convey the importance of developing a community
of artists, and they reinforce a holistic view of art that thrives on synthesis. Another prevailing
theme, one that Murray returns to frequently, is the sublimation of an artist’s cultural
environment into his or her art.
Andrews, William L., Francis Smith Foster, and Trudier Harris. The Concise Oxford Companion
to American Literature. Oxford: Oxford University Press, 2001. Print.
This is an indispensable text for any research into African-American Literature. In addition to
providing brief biographical data on hundreds of artists, including non-writers such as Bessie
Smith, The Oxford Companion gives listings for key works of fiction and even for supporting
characters. The entry for Albert Murray confirms that his work was a concentrated effort to
infuse literature with blues sensibilities, and that “the blues idiom represents an entire set of
cultural equipment for living.” The listings are by design tonally neutral, and the spatial
constraints of the book prohibit them from providing more than a superficial understanding of
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their subjects. However, the listings are dependably accurate and they provide more than enough
information to seek out further research.
Ho 1
Duy Ho
Bill Lord
ENG111/F13A
26 November 2018
Preliminary Bibliography
Davis, Lindsey. "The privatization of street art and the preservation paradox." Visual Inquiry 7.1
(2018): 29-43.
http://web.a.ebscohost.com.eznvcc.vccs.edu:2048/ehost/detail/detail?vid=26&sid=10891
47a-5e67-49f9-bda2- Accessed 25 November 25, 2018
Fine, Gary Allan. “Crafting Authenticity: The Validation of Authenticity in Self-Taught
Art.” Theory and Society32.2 (April 2003): 153–80.
http://web.b.ebscohost.com.eznvcc.vccs.edu:2048/ehost/pdfviewer/pdfviewer?vid=4&sid
=dfff0b55-3318-4b2c-8762-cbc0b590cdaa%40sessionmgr120 Accessed 25 November
25, 2018
Halsey, Mark and Alison Young. “’Our Desires Are Ungovernable’: Writing Graffiti in Urban
Space.” Theoretical Criminology 10 (2006): 275–306. Melbournegraffiti.
https://www.melbournegraffiti.com/news/AUG2006_Our_Desires_Are_Ungovernable.pd
f Accessed 25 November 2018
Hansen, Susan, and Flynn Danny. "‘This is not a Banksy!’: street art as aesthetic
protest." Continuum 29.6 (2015): 898-912.
https://www.researchgate.net/publication/282531572_'This_is_not_a_Banksy'_street_art_
as_aesthetic_protest Accessed 25 November 25, 2018
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Irvine, Martin. "The work on the street: Street art and visual culture." The handbook of visual
culture (2012): 235-278. http://faculty.georgetown.edu/irvinem/articles/IrvineWorkontheStreet-1.pdf Accessed 25 November 25, 2018
Ottaway. Amanda. “Jury Slams Developer for Whitewashing Graffiti Artist’s Works”.
Courthousenews. https://www.courthousenews.com/jury-slams-developer-whitewashinggraffiti-artists-works/ Accessed 25 November 25, 2018
Tara, John. “Artist vows to destroy Banksy work he bought for $730K”. CNN.
https://edition.cnn.com/style/article/banksy-slave-labour-scli-intl/index.html/ Accessed 25
November 25, 2018
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