By Judy Greer
You recognize Judy Greer, correct? perhaps from The marriage ceremony Planner, 13 happening 30, Carrie, Arrested Development, or The Descendants. sure, you completely realize her. And, odds are, you already think like she’s your friend.
In her first ebook of essays, I Don’t understand What you recognize Me From, Greer writes approximately every little thing you are going to wish to listen to out of your ally: how a hour of darkness purchasing journey to CVS can remedy all; what it’s wish to get up someday with stepchildren; and the way she quite feels approximately enthusiasts telling her that she’s prettier in individual. convinced, it’s all here—from the hilarious moments to the
But Judy Greer isn’t only a typical friend—she’s a celeb buddy. need to know which celebs she’s peed subsequent to? Or what the Academy Awards are literally like? Or which scorching actor gave her father a Harley-Davidson? Don’t fear; Greer finds all of that, too. You’ll love her simply because, along with being laugh-out-loud humorous, she makes us certainly consider like she’s certainly one of us. simply because even if she occasionally has a stylist and a make-up artist, she nonetheless wears (and hates!) Spanx. simply because even after nearly two decades in Hollywood, she nonetheless hasn’t figured every thing out—except so you might consistently wash your face sooner than mattress. continuously.
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Extra info for I Don't Know What You Know Me From: Confessions of a Co-Star
Kracauer (1947) proffers that while other media generate information about the social attitudes of a culture, film exceeds these media in its inclusiveness because its narrative and visuals reflect the deep structure of the “collective unconscious” of a culture. Wolfenstein & Leites (1950) point to the concept of “day-dreams” to explain film’s role in the “collective unconscious” of a society. They intimate that just as “day-dreams” contain “clues” to the underlying “fears, wishes and dreams” of the individual (p.
Because the white female form represents the “feminine” and all that the feminine implies, beauty, gentility, and virginity (Christian, 1985), membership in the dominant group automatically grants white women credibility as women of virtue. ” This is because—and this point is of extreme importance—on the aggregate level, group membership allows for perceived sexual virtue. No matter how sexually debased a particular woman of this group behaves, with a bit of effort, she can reinvent herself once again; group membership generally assures this.
Even less obvious is the speed with which viewers are bombarded with massive amounts of pre-selected visual information. Unlike print’s imaging which provides readers of texts with time in which to reflect and muse about the actuality of a given character’s world, the speed with which visual information is made accessible to viewers is a point on which McLuhan (1964), Meyrowitz (1985) and others have commented. McLuhan (1964) explains that film, in particular, has the power to “convey a great deal of information” (p.
I Don't Know What You Know Me From: Confessions of a Co-Star by Judy Greer