Guardian 100

•••Guardian 100•••

• What is the Guardian 100 and who are the panellists who created it?

The MediaGuardian 100 is the annual guide to the most domineering and powerful people in the media industry. Elected candidates are judged on three criterias: their cultural, economic and political power influence in the UK. The list consists of all sectors of the media, including broadcasting, publishing, new media, advertising, marketing and PR. The panellists which incorporated and created the Guardian 100 are experienced media watchers from the worlds of politics, journalism, advertising and the internet. These panellists are: Lord Waheed Alli, chairman of entertainment content company Chorion. Daisy McAndrew, the chief political correspondent for ITV News. Jamie Kantrowitz, senior vice-president of marketing and content for MySpace.com in Europe. Richard Park, an executive director of Chrysalis Radio parent Global Radio. Sarah Sands, a consultant editor of the Daily Mail. James Scroggs, vice-president, consumer business of SpinVox, the voice-to-screen messaging company. Janine Gibson, executive editor of Guardian Unlimited and editor-in-chief of MediaGuardian and finally Matt Wells, editor of MediaGuardian and presenter of the Media Talk podcast. One observation is that there is a near enough balance bertween the number of men and women in the panel.

• How many women are in the top 100?

There are all together 19 females in the Guadian top 100 and these are the first three in order of rank: Lesley Douglas, controller of the country's most popular radio station (BBC popular music). Jana Bennett, one of the big winners of director general Mark Thompson's reorganisation of the BBC.

● What companies do these women work for and in what roles?

9. Lesley Douglas

Job: controller, BBC Radio 2 and 6Music; controller, BBC popular music
Age: 44
Industry: broadcasting
Annual programming budget: £35.7m (Radio 2), £4.5m (6Music)
Audience: 13.25m (Radio 2), 477,000 (6Music)
Staff: 110
2006 ranking: 37

11. Jana Bennett

Job: director of vision, BBC
Age: 50
Industry: broadcasting
Annual programming budget: £1.4bn
Staff: 1,500
Salary: £433,000 (including benefits and other remuneration totalling £90,000)
2006 ranking: 8

18. Jenny Abramsky

Job: director, BBC audio and music
Age: 60
Industry: broadcasting
Annual programming budget: £236m
Staff: 1,681
Salary: £329,000 (including £13,000 benefits)
2006 ranking: 11

23. Rebekah Wade

Job: editor, the Sun
Age: 39
Industry: publishing
Circulation: 3,043,351 (May 2007)
2006 ranking: 12

29. Helen Boaden

Job: director, BBC news
Age: 51
Industry: broadcasting
Annual programming budget: £329m
Staff: 3,000
2006 ranking: 17

36. Sly Bailey

Job: chief executive, Trinity Mirror
Age: 45
Industry: publishing
Turnover: £1.03bn
Circulation: Daily Mirror 1.55m, Daily Record 404,131, Sunday Mirror 1.38m, People 729,715 (May 2007)
Staff: 10,211
Salary: £1.47m (including £755,000 bonus)
2006 ranking: 32

38. Lisa Opie

Job: managing director, content, Channel Five
Age: 47
Industry: broadcasting
Annual programming budget: £230m
Staff: 54
New entry

41. Marjorie Scardino

Job: chief executive, Pearson
Age: 60
Industry: publishing, new media
Turnover: £4.42bn
Staff: 34,000
Salary: £1.96m (including benefits, allowances and £1.07m annual incentive)
2006 ranking: 36

46. Carolyn McCall

Job: chief executive, Guardian Media Group
Age: 45
Industry: publishing, broadcasting, new media
Turnover: £700.3m
Staff: 7,200 (Guardian Media Group)
Salary: £495,000 (including £215,000 bonus)
2006 ranking: 94

50. Dawn Airey

Job: director of global content, ITV
Age: 46
Industry: broadcasting
2006 ranking: 31

53. Patience Wheatcroft

Job: editor, Sunday Telegraph
Age: 55
Industry: publishing
Circulation: 655,047 (May 2007)
2006 ranking: 87

54. Elisabeth Murdoch

Job: chairman and chief executive, Shine
Age: 38
Industry: broadcasting
Turnover: £115m
Staff: 200
New entry

62. Jane Featherstone

Job: joint managing director, Kudos Productions
Age: 38
Industry: broadcasting
Staff: 38
2006 ranking: 74

71. Jane Bruton

Job: editor, Grazia
Age: 39
Industry: publishing
Circulation: 210,200 (July-December 2006)
Staff: 40
New entry

94. Allison Pearson

Job: columnist, Daily Mail
Age: 46
Industry: publishing
New entry

97. Emily Bell

Job: director of digital content, Guardian News & Media
Age: 41
Industry: new media
Staff: 132
New entry

● What percentage of the 100 is women?

19% of the top 100 is women.

.*.*.[Post-Modernism in Contemporary Film].*.*.

.*.*.[Post-Modernism in Contemporary Film].*.*.

How are the Protagonists of “Flight Plan” and “The Orphan” Constructed in Order to represent them in a Post-Feminine Manner?

Post-feminism is a perspective that focuses on gender issues, specifically in the cultural context since feminism. Feminism brought about many social and political changes, however Post-feminism does not assume that this means gender issues are no longer valid. On the contrary, it acknowledges that there are still many areas of interest and concern within gender politics; but it recognises that these issues are very diffeent from the ones faced by gender theorists in the mid-20th century.

The text I have chosen to analyse is "The Orphan- [can you keep it a secret?]" which was released earlier this year in July 2009, and has been directed by Jaume Collet-Serra. The Orphan is about a husband and wife who have recently lost their baby and adopt a 9-year-old girl who is not nearly as innocent as she claims to be.

A comprehensible judgement to why this is a post-feminist text is that the narrative is central to a female, Kate, who is the main protagonist, evenmore the villian, Esther, is also a female. This immediately corresponds to the text being a post feminist text as male figures are trivial in the narrative and have least significance, whereby, females dominate the film and challenge the stereotypical neurotic female representation as many films tend to portray. In comntrast both actresses are shown to be ultimately active. Evenmore, the binary oposition of 'masculine' 'VS' 'feminine' announces the conflicting idea of power struggle in society between two opposing groups.

The predominant characters in the film are females in fact there are only three significant male roles present in the film. This projects the ideology of solidarity and sense of belonging for the female audiences, as through the kinships presented between these female characters, 'togetherness' is reinforced and the feminine side gains power over the masculine side, which looses power.