Popular Media
Because of USC's proximity to Hollywood, close ties between the School of Cinematic Arts and entertainment industry, and the architecture on campus, the university has been used in numerous movies, television series, commercials, and music videos. USC serves as a popular spot for filmmakers, standing in for numerous other universities.
Movies filmed at USC include Forrest Gump, Legally Blonde, Road Trip, The Girl Next Door, Harold & Kumar Go to White Castle, Love & Basketball, Blue Chips, Ghostbusters, Live Free or Die Hard, House Party 2, The Number 23, The Social Network and The Graduate. Television series that have used the USC campus include Cold Case, Entourage, 24, The O.C., Beverly Hills, 90210, Moesha, Saved by the Bell: The College Years, The Fresh Prince of Bel-Air, House M.D., CSI: NY, Undeclared, The West Wing, Alias, The Office, Monk, The United States of Tara, Gilmore Girls, and The Roommate. The USC campus also appears on the video game Midnight Club: Los Angeles on its "South Central Map Expansion".
Recently, the campus has served as a backdrop for popular television games shows Jeopardy! and Wheel of Fortune. Other television series that have been filmed on campus include the 2004 Democratic Primary Debate, Hardball with Chris Matthews, The Scholar, The Best Damn Sports Show Period, and College GameDay.
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Famous quotes containing the words popular and/or media:
“The press is no substitute for institutions. It is like the beam of a searchlight that moves restlessly about, bringing one episode and then another out of darkness into vision. Men cannot do the work of the world by this light alone. They cannot govern society by episodes, incidents, and eruptions. It is only when they work by a steady light of their own, that the press, when it is turned upon them, reveals a situation intelligible enough for a popular decision.”
—Walter Lippmann (1889–1974)
“The media network has its idols, but its principal idol is its own style which generates an aura of winning and leaves the rest in darkness. It recognises neither pity nor pitilessness.”
—John Berger (b. 1926)