Shoot development and production studies of phragmites Australis (Cav.) Trin. Ex Steudel in Scottish Lochs

Hydrobiologia ◽  
1979 ◽  
Vol 64 (3) ◽  
pp. 215-222 ◽  
Author(s):  
Y. B. Ho
Keyword(s):  
Phragmites Australis ◽  
Shoot Development ◽  
Production Studies ◽  
Scottish Lochs

Development of foliage structure i1n Phragmites australis (Cav.) Trin. ex steudel stands in Scottish lochs

Hydrobiologia ◽  
1980 ◽  
Vol 70 (1-2) ◽  
pp. 159-164 ◽  
Author(s):  
Y. B. Ho
Keyword(s):  
Phragmites Australis ◽  
Foliage Structure ◽  
Scottish Lochs

An investigation of symbolic factors of cognition and convergent production: Studies of aptitudes of high-level personnel

1960 ◽  
Author(s):  
J. P. Guilford ◽  
P. R. Merrifield ◽  
P. R. Christensen ◽  
J. W. Frick
Keyword(s):  
Production Studies ◽  
High Level

Post-transplant root and shoot development inAbies nordmannianaSpach. seedlings after whorl bud and branch pruning

2006 ◽  
Vol 63 (8) ◽  
pp. 843-847
Author(s):  
Lillie Andersen ◽  
Steen Soerensen ◽  
Hanne N. Rasmussen
Keyword(s):  
Shoot Development ◽  
Post Transplant

Mod Pop Methods

2015 ◽  
Vol 1 (1) ◽  
pp. 64-88
Author(s):  
Quinlan Miller
Keyword(s):  
New Media ◽  
Real Life ◽  
Trans Content ◽  
Popular Entertainment ◽  
Television Industry ◽  
Production Studies ◽  
Feminist Media Studies ◽  
The Everyday ◽  
The 1960S ◽  
Gender Regulation

This article reconstructs queer popular culture as a way of exploring media production studies as a trans history project. It argues that queer and trans insights into gender are indispensible to feminist media studies. The article looks at The Ugliest Girl in Town series (ABC, 1968–69), a satire amplifying a purported real-life fad in flat chests, short haircuts, and mod wigs, to restore texture to the everyday landscape of popular entertainment. Approaching camp as a genderqueer practice, the article presents the program as one of many indications of simultaneously queer and trans representation in the new media moment of the late 1960s. Behind-the-scenes visions of excavated archival research inform an analysis of the series as a feminist text over and against its trans misogyny, which evaluates and ranks women based on their looks, bodies, and appearance while excessively sexualizing and even more stringently appraising, policing, and punishing trans women, women perceived to be trans, and oppositional forms of femininity. The program captures both the means of gender regulation and detachment from it, the experience of gender embodiment, and the promise of presenting and being perceived as many genders. Ugly is an awful word in the way it is usually wielded, but it can be reclaimed. Examining this rarely cited and often misconstrued Screen Gems series helps to demonstrate a more equitable distribution of creative credit for queer trans content across the television industry and the subcultures it commodified in the 1960s.

Open Mic?

2020 ◽  
Vol 6 (4) ◽  
pp. 42-67
Author(s):  
Stephanie Brown
Keyword(s):  
Fan Studies ◽  
Production Studies ◽  
Gender Expression ◽  
Ethnographic Interviews ◽  
Stand Up Comedy ◽  
The Ideal

This article draws on ethnographic interviews conducted between May 2016 and May 2017 with stand-up comics in Chicago and Urbana-Champaign, Illinois, all of whom described the experience of being marked as, or associated with, women within the historically masculine comedic space. Drawing on feminist comedy studies, production studies, and fan studies, the article explores the cultural logics of comedic authenticity and their material effects on embodied performances of marked comics in local live comedy. It argues that marked bodies are rarely able to achieve the ideal performance of “authenticity.” While stand-up comedy is often theorized optimistically as a fruitful site from which to subvert assumptions about identity, gendered or otherwise, comics paradoxically feel pressure to conform to appropriate gender expression on stage in order to be legible to audiences and other comics historically influenced by masculine comedic taste.

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