MPDG


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MPDG

An abbreviation for "manic pixie dream girl," a female character in film and literature who is depicted as a cute, quirky free spirit and who is used solely or primarily to be the love interest of and further the personal growth of the (often disillusioned or depressed) male protagonist, rather than being a fully realized character. Film critic Nathan Rabin first used the term in 2007 to describe Kirsten Dunst's character in the film Elizabethtown. Natalie Portman's character in Garden State is often considered an MPDG.
References in periodicals archive ?
Obviously, Rabin is going for comedy, but by overtly contradicting his own definition of the MPDG "as a means to an end, not a flesh-and-blood human being" (3), such that "once life lessons have been imparted, the Manic Pixie Dream Girl might as well disappear in a poof!
Without belaboring the notion of the "male gaze" in a popular magazine, though Medina Onrubia lived to 78, all the photos of her are as a young woman: like the MPDG, she is "immortally fixed at the physical and mental age of nineteen-and-a-half" (Penny, "I Was" <http://www.newstates man.com/lifestyle/2013/06/i-was-manic-pixie-dream-girl>; See also Schwyzer, "The Real-World"; O'Ryan, "8 Quirky"; Sarkeesian, "Tropes").
The attraction of nebbish to MPDG is predicated on her unattainability; like the "real life" Manic Pixie Girlfriend--like Rabin's--is a contradiction in terms not primarily because the MPDG is fictional, but because the girl exceeds the trope's conventions.
Caption: Figure 1: To illustrate the homogenizing effect of the MPDGT on the millennial imagination of historical female figures, Beckett Koretz superimposed the face of actress Zooey Deschanel--known for MPDG roles--onto Sylvia Plath, Emma Goldman, Rosie the Riveter, a Suffragette, Joan of Arc, Hillary Clinton, a 1930s Spanish mujer libre [free woman], Judith Butler and others.
Reconceiving film history as an eternal dance of nebbishes and MPDGs, a video by pop culture website Flavorwire called, "75 Years of Manic Pixie Dream Girls" went viral showing that the trope of the charmingly unstable ingenue - often attributed to recent indie cinema - actually goes back decades" (Cieplak-Mayr von Baldegg, "A Montage" <http://www.theatlantic.com/video/archive /2012/07/a-montage-of-75-years-of-manic-pixie-dream-girls-in-cinema/260236/>).
Both the CDG and the MPDG possessed basic accounting records on products and finances.
The BPDG, the MPDG and the NNKDG possessed stocks of raw materials for weaving.
The MPDG produced 70 per cent of its output to order and sold 30 per cent of its goods in direct sales to shops or at trade fairs.
Groups with no sewing capacity--the CDG and the BPDG--reported that they would subcontract sewing to factories and thus have a shorter production period than those operations that undertook weaving and sewing themselves, like the MPDG and the NNKDG.
To investigate the reliability of the high CRI phosphor with the glass and silicone, QY decay was measured as a function of aging time after thermal aging at 150 and 250[degrees]C for MPDG and MPDS shown in Figure 2, at measurement period 250 hours.
CRI remanence was measured as a function of aging time of the MPDG and MPDS after thermal aging at 150[degrees]C, 250[degrees]C, 350[degrees]C, and 450[degrees]C at measurement period 250 hours shown in Figure 3.
The chromaticity shift was measured as a function of aging time of the MPDG and MPDS after thermal aging at 150[degrees]C, 250[degrees]C, 350[degrees]C, and 450[degrees]C as shown in Figure 4 for period of 1080 hours.
The emission spectrum was measured, with integrating sphere spectrometer, as a function of aging time for the MPDG and MPDS after thermal aged at 150[degrees]C, 250[degrees]C, 350[degrees]C, and 450[degrees]C, (a) and (b), respectively, shown in Figure 5.