The Media as Sexual Socializer: Movie Analysis: Anchorman - The Legend of Ron Burgundy
ddttrh.info: Anchorman: The Legend of Ron Burgundy (The Rich with competitors, drinking, and flirting with the ladies, Veronica quietly climbs her way to the top. . First, let me say right up front that I am *not* a Will Ferrell fan, generally . now that I do, I've watched a bunch of his movies and will probably try Elf again. Dream sequence. did anchorman really have a dream sequence? I don't think I've ever a big ddttrh.infoebro , 4 March (UTC) Is Champ really gay, after all, he did try to touch Corningstone's breasts and flirt with her. Keep me logged in A career high point: as Ron Burgundy in 's ' Anchorman' () Weighed down with Christmas film tokenism, gross product placement, and a misbegotten script which tries to rehabilitate Mel Gibson even as it . as David O. Russell's Flirting With Disaster () and Wes Anderson's.
Both cites say that the film was on hold. No compelling reason exists for having both, especially in the lead. It's an encyclopedia, not a court transcript. We are also instructed to use WP: I've also found a source that uses this term; Again, an editor worked hard enough to find the cite and comply with the citation requirements of Wikipedia. To simply throw it away, you need to try harder than saying that no rule explicitly prohibits that.
Wikipedia is not a WP: You're going to cite WP: It is meant as a metarule to deal with corner cases when all other rules don't quite apply. It is not meant to be a first-use get-of-of-jail-for-free card. Phrases like Mary Sue and Magical Negro and even Principle of Evil Marksmanship have reliable sources that define them as legitimate, unique, distinct tropes to describe aspects of creative works, and are thus appropriate for use in Wikipedia in proper contexts. No more-encyclopedic synonym for any of these phrases exists.
I used the word "quoting" when describing a way to appropriately use the phrase in a Wikiarticle for a reason. It would be appropriate, for example, when describing the film's critical reception, to include the phrase as part of a quote from a review praising the movie.
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Otherwise, merely citing its use in a non-encyclopedic source does not ordinarily permit editors to use it in encyclopedic writing, as per the previous point; otherwise, any slang whatsoever could be introduced in Wikipedia merely by pointing to a cite using it. Every shred of common sense tells us that your version is uglier and does not look half as professional as the other version; Tongue in cheek is much more distinct than humorous or satirical.
If you dispute that, I believe your problem might be lack of WP: The dispute is over whether the lead should discuss relatively unimportant details such as what turned out to be a temporary delay in the film's production, or the means of its announcement. I don't disagree that "tongue-in-cheek" is more distinct.
TONE and the latter doesn't. I goofed; by "non-encyclopedic sources" I meant "source with non-encyclopedic writing", which is of course going to be the vast majority of non-Wikipedia content. The TONE-violating sentence in the previous bullet might very well appear in a newspaper article discussing the aforementioned Super Bowl, even a straight news piece.
Such language does not disqualify the news article from being used as a reliable source for a Wikipedia article. The Wikipedia article might very well quote the sentence when discussing media reactions to the game "The Daily Planet stated that the Cowboys had 'crushed, destroyed, and demolished the Bills. That is, without altering the meaning even the tiniest bit. I'm still having a hard time understanding how you compare that to "crushed, destroyed, and demolished".
It's an actual, legitimate expression, and it's not slang by far. Arthur Holland talk How do the alternatives "humorously portrays the culture of the s Emotional connotation is not the only reason why "crushed" or "demolished" is inappropriate for Wikipedia, even in a sports context.
TONE standards, but fine in many non-Wikipedia contexts while the other doesn't. What's your otherwise proof? Also, none of your suggested alternatives conveys the phrase's full meaning. This female objectification, as well as competition amongst men to see who can seduce her first, through a series of crude sexual advances, closely reflects elements of the Sex As Masculinity coding theme described in the literary works of Janna L.
In this instance, Ron is clearly the sexual initiator and his behavior shows that he is willing to go to great lengths to have intercourse. He has Veronica called down to his office where, upon her entrance, she discovers him sitting topless in a chair, pretending to have just been concluding an intense set of bicep curls, thus indirectly demonstrating his strength and power to the female.
Components of both the Good Girl and Masculine Courting Strategies coding paradigms are also tied to the scene as well. His ridiculous and unconvincing fabrication fails to impress her, even in the slightest.
Instead his efforts backfire on him, provoking an irate and emasculating verbal response from Veronica, clearly indicative of intense feelings of frustration with Ron for having paged her to his office and wasting her time with his pathetic attempt to seduce her. Having been backed into a corner, Ron attempts to redeem himself and regain control of the situation. He shifts the focus from himself back onto her by acting offended and hurt by her words, making her feel foolish, and even attempting to alleviate his feelings of embarrassment by transferring the guilt back over to her.
He insists that his intentions were not motivated by sexual desire, but rather constituted a friendly and professional attempt to get to know his new co-worker and help to familiarize her with the unfamiliar new city that she will be reporting on.
At this point the sexual nature of both characters interactions are markedly less evident. That is until, at the conclusion of their conversation, the camera zooms out, revealing to Veronica and the audience that Ron has now developed an explicitly clear erection under his pants reiterating the idea that men are continually and hopelessly obsessed with sex.
The second scene takes place approximately 45 minutes into the film. Right in the middle of this small shrine to himself is a picture of him, his provocatively dressed wife, and his perfectly posed family, potentially alluding to the notion that they serve as yet another award or achievement for his shelf.
Everything about her infers the role of attractive, submissive and subservient housewife, whose extreme dedication to her husband is rivaled only her sexual attraction to him. The events of this scene are great examples of the general orientations towards sexuality and the double standard detailed in the writings of L. Basing this imagination of everlasting and highly sexualized love on essentially nothing more than his current sexual infatuation with Veronica, as well the implication that he thinks of her as simply another trophy or prize, comprise themes of the Recreational Orientation towards sexuality in our culture.
Concurrently, his imaginary marriage to Veronica and the presence of his imaginary sons reflect parts of the Procreational Orientation. Veronica, both attractive and provocatively dressed in this scene, is clearly the subject of objectification. Her behavior is about as passive as it gets, making it abundantly obvious that her primary concerns revolve around satisfying her male partner Ward, p. Essentially, everything about this scene is intended to frame her as submissive, sexual, devoted, and physically attractive, while making Ron out to be the patriarchal and distinguished bread winner, clearly inferring his dominance in the relationship.
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Finally, the third scene of interest for this analysis takes place just about an hour into the film, and features a disgruntled Ron, storming into the television studio only to find that Veronica, a woman, has just reported his news for him. His anger and anxiety over her perceived betrayal and emasculating actions, are more than obvious as he proceeds to belittle and berate Veronica in a very aggressive manner, in front of all the many other staff members present.
Ron dominates the dialogue first by simply yelling over people. Then as he becomes further enraged this yelling escalates into threatening physical movements, extremely aggressive uses of language and vocal tones, and excessively sexist and demeaning insults directed at Miss Corningstone Ivory, Gibson, Ivory, p.