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Reading and Movie Response

Please based on two screenings (The Real World: San Francisco, Invisible Women or other AIDS Activist Videos included in the lecture slides) and one reading. Please address specific and relevant aesthetic, thematic, and narrative details about the episode(s), though, and use direct quotes or substantive paraphrases of the readings. You can use a few sentences to summarize the reading and screenings, but do not make the summary occupy the most of your response. I have uploaded the reading in the file. Here are the links and summary for screenings: Invisible Women: https://vimeo.com/85185857 The Real World: San Francisco, “Together and Apart”: you could watch it throughparamountplus. This is the summary of the screening: Pedro and Judd attend a memorial for reporter/author Randy Shilts, who died of AIDS, but are troubled by the presence of anti-gay protesters. As Pedro’s CD4 T cells drop, the White House coordinates an NBC interview with him. He speaks at Stanford University, but the cast is frustrated by Puck’s monopolization of conversations in which Pedro attempts to speak with them, and by Puck’s dismissal of Pedro’s work. Pedro’s health is beginning to deteriorate, as his T-cell count gets lower. The cast is beginning to realize the extent of his illness and is worried about the possible consequences. This creates tension between Pedro and Puck, because Puck does not respect the way Pedro chooses to live his life. Pedro continues to give educational seminars on living with HIV and Pam and Judd go to support him when he speaks at Stanford University. Rachel and Cory go with Puck to the house he grew up in and meet his mother, who, to their surprise, is completely normal. The next day, Pedro, Judd and Pam go to the park and take it easy by playing soccer and enjoying each other’s company. How does Juhasz contextualize cable programming’s methods of political address and social representation(s) as distinct from broadcast television shows? How do The Real World and Invisible Women contrast (or overlap) in their genre designations, visual sensibilities, and/or narrative structures? How do these distinctions (or similarities) affect the programs’ messaging? What aesthetic, discursive, or narrative distinctions do you notice between any activist television productions (including Invisible Women) and MTV’s The Real World? What appear to be the goals of these different productions and who do they seem targeted toward?  Which characters/storylines would you consider having agency/primacy in the programs from this week? That is, who controls the narrative(s), how so, and to what political/social effect(s)?  In what ways are these productions representative of their distribution outlets (MTV and Deep Dish TV)? How does Juhasz consider performers’ social goals/dispositions as distinct from or intertwined with the industrial contexts of The Real World and documentaries like Invisible Women?