Direct-To-DVD: from Syfy to the Majors
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Are You What You Watch?
Are You What You Watch? Tracking the Political Divide Through TV Preferences By Johanna Blakley, PhD; Erica Watson-Currie, PhD; Hee-Sung Shin, PhD; Laurie Trotta Valenti, PhD; Camille Saucier, MA; and Heidi Boisvert, PhD About The Norman Lear Center is a nonpartisan research and public policy center that studies the social, political, economic and cultural impact of entertainment on the world. The Lear Center translates its findings into action through testimony, journalism, strategic research and innovative public outreach campaigns. Through scholarship and research; through its conferences, public events and publications; and in its attempts to illuminate and repair the world, the Lear Center works to be at the forefront of discussion and practice in the field. futurePerfect Lab is a creative services agency and think tank exclusively for non-profits, cultural and educational institutions. We harness the power of pop culture for social good. We work in creative partnership with non-profits to engineer their social messages for mass appeal. Using integrated media strategies informed by neuroscience, we design playful experiences and participatory tools that provoke audiences and amplify our clients’ vision for a better future. At the Lear Center’s Media Impact Project, we study the impact of news and entertainment on viewers. Our goal is to prove that media matters, and to improve the quality of media to serve the public good. We partner with media makers and funders to create and conduct program evaluation, develop and test research hypotheses, and publish and promote thought leadership on the role of media in social change. Are You What You Watch? is made possible in part by support from the Pop Culture Collaborative, a philanthropic resource that uses grantmaking, convening, narrative strategy, and research to transform the narrative landscape around people of color, immigrants, refugees, Muslims and Native people – especially those who are women, queer, transgender and/or disabled. -
Extreme Art Film: Text, Paratext and DVD Culture Simon Hobbs
Extreme Art Film: Text, Paratext and DVD Culture Simon Hobbs The thesis is submitted in partial fulfilment of the requirements for the award of the degree of Doctor of Philosophy of the University of Portsmouth. September 2014 Declaration Whilst registered as a candidate for the above degree, I have not been registered for any other research award. The results and conclusions embodied in this thesis are the work of the named candidate and have not been submitted for any other academic award. Word count: 85,810 Abstract Extreme art cinema, has, in recent film scholarship, become an important area of study. Many of the existing practices are motivated by a Franco-centric lens, which ultimately defines transgressive art cinema as a new phenomenon. The thesis argues that a study of extreme art cinema needs to consider filmic production both within and beyond France. It also argues that it requires an historical analysis, and I contest the notion that extreme art cinema is a recent mode of Film production. The study considers extreme art cinema as inhabiting a space between ‘high’ and ‘low’ art forms, noting the slippage between the two often polarised industries. The study has a focus on the paratext, with an analysis of DVD extras including ‘making ofs’ and documentary featurettes, interviews with directors, and cover sleeves. This will be used to examine audience engagement with the artefacts, and the films’ position within the film market. Through a detailed assessment of the visual symbols used throughout the films’ narrative images, the thesis observes the manner in which they engage with the taste structures and pictorial templates of art and exploitation cinema. -
Department of Film & Media Studies Hunter College
Department of Film & Media Studies Jeremy S. Levine Hunter College - CUNY 26 Halsey St., Apt. 3 695 Park Ave, Rm. 433 HN Brooklyn, NY 11216 New York, NY 10065 Phone: 978-578-0273 Phone: 212-772-4949 [email protected] Fax: 212-650-3619 jeremyslevine.com EDUCATION M.F.A. Integrated Media Arts, Department of Film & Media Studies, Hunter College, expected May 2020 Thesis Title: The Life of Dan, Thesis Advisor: Kelly Anderson, Distinctions: S&W Scholarship, GPA: 4.0 B.S. Television-Radio: Documentary Studies, Park School of Communications, Ithaca College, 2006 Distinctions: Magna Cum Laude, Park Scholarship EMPLOYMENT Hunter College, 2019 Adjunct Assistant Professor, Department of Film & Media Studies Taught two undergraduate sections of Intro to Media Studies in spring 2019, averaging 6.22 out of 7 in the “overall” category in student evaluations, and teaching two sections of Intro to Media Production for undergraduates in fall 2019. Brooklyn Filmmakers Collective, 2006 – Present Co-Founder, Advisory Board Member Co-founded organization dedicated to nurturing groundbreaking films, generative feedback, and supportive community. Recent member films screened at the NYFF, Sundance, and Viennale, broadcast on Showtime, HBO, and PBS, and received awards from Sundance, Slamdance, and Tribeca. Curators from Criterion, BAM, Vimeo, The Human Rights Watch Film Festival, and Art 21 programmed a series of 10-year BFC screenings at theaters including the Lincoln Center, Alamo, BAM, and Nitehawk. Transient Pictures, 2006 – 2018 Co-Founder, Director, Producer Co-founded and co-executive directed an Emmy award-winning independent production company. Developed company into a $500K gross annual organization. Directed strategic development, secured clients, managed production teams, oversaw finances, and produced original feature films. -
An Analysis of Hegemonic Social Structures in "Friends"
"I'LL BE THERE FOR YOU" IF YOU ARE JUST LIKE ME: AN ANALYSIS OF HEGEMONIC SOCIAL STRUCTURES IN "FRIENDS" Lisa Marie Marshall A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2007 Committee: Katherine A. Bradshaw, Advisor Audrey E. Ellenwood Graduate Faculty Representative James C. Foust Lynda Dee Dixon © 2007 Lisa Marshall All Rights Reserved iii ABSTRACT Katherine A. Bradshaw, Advisor The purpose of this dissertation is to analyze the dominant ideologies and hegemonic social constructs the television series Friends communicates in regard to friendship practices, gender roles, racial representations, and social class in order to suggest relationships between the series and social patterns in the broader culture. This dissertation describes the importance of studying television content and its relationship to media culture and social influence. The analysis included a quantitative content analysis of friendship maintenance, and a qualitative textual analysis of alternative families, gender, race, and class representations. The analysis found the characters displayed actions of selectivity, only accepting a small group of friends in their social circle based on friendship, gender, race, and social class distinctions as the six characters formed a culture that no one else was allowed to enter. iv ACKNOWLEDGMENTS This project stems from countless years of watching and appreciating television. When I was in college, a good friend told me about a series that featured six young people who discussed their lives over countless cups of coffee. Even though the series was in its seventh year at the time, I did not start to watch the show until that season. -
NCA All-Star National Championship Wall of Fame
WALL OF FAME DIVISION YEAR TEAM CITY, STATE L1 Tiny 2019 Cheer Force Arkansas Tiny Talons Conway, AR 2018 Cheer Athletics Itty Bitty Kitties Plano, TX 2017 Cheer Athletics Itty Bitty Kitties Plano, TX 2016 The Stingray All Stars Grape Marietta, GA 2015 Cheer Athletics Itty Bitty Kitties Plano, TX 2014 Cheer Athletics Itty Bitty Kitties Plano, TX 2013 The Stingray All Stars Marietta, GA 2012 Texas Lonestar Cheer Company Houston, TX 2011 The Stingray All Stars Marietta, GA 2010 Texas Lonestar Cheer Company Houston, TX 2009 Cheer Athletics Itty Bitty Kitties Dallas, TX 2008 Woodlands Elite The Woodlands, TX 2007 The Pride Addison, TX __________________________________________________________________________________________________ L1.1 Tiny Prep D2 2019 East Texas Twisters Ice Ice Baby Canton, TX __________________________________________________________________________________________________ L1.1 Tiny Prep 2019 All-Star Revolution Bullets Webster, TX __________________________________________________________________________________________________ L1 Tiny Prep 2018 Liberty Cheer Starlettes Midlothian, TX 2017 Louisiana Rebel All Stars Faith (A) Shreveport, LA Cheer It Up All-Stars Pearls (B) Tahlequah, OK 2016 Texas Legacy Cheer Laredo, TX 2015 Texas Legacy Cheer Laredo, TX 2014 Raider Xtreme Raider Tots Lubbock, TX __________________________________________________________________________________________________ L1 Mini 2008 The Stingray All Stars Marietta, GA 2007 Odyssey Cheer and Athletics Arlington, TX 2006 Infinity Sports Kemah, -
Download-To-Own and Online Rental) and Then to Subscription Television And, Finally, a Screening on Broadcast Television
Exporting Canadian Feature Films in Global Markets TRENDS, OPPORTUNITIES AND FUTURE DIRECTIONS MARIA DE ROSA | MARILYN BURGESS COMMUNICATIONS MDR (A DIVISION OF NORIBCO INC.) APRIL 2017 PRODUCED WITH THE ASSISTANCE OF 1 EXPORTING CANADIAN FEATURE FILMS IN GLOBAL MARKETS Acknowledgements This study was commissioned by the Canadian Media Producers Association (CMPA), in partnership with the Association québécoise de la production médiatique (AQPM), the Cana- da Media Fund (CMF), and Telefilm Canada. The following report solely reflects the views of the authors. Findings, conclusions or recom- mendations expressed in this report are those of the authors and do not necessarily reflect the views of the funders of this report, who are in no way bound by any recommendations con- tained herein. 2 EXPORTING CANADIAN FEATURE FILMS IN GLOBAL MARKETS Executive Summary Goals of the Study The goals of this study were three-fold: 1. To identify key trends in international sales of feature films generally and Canadian independent feature films specifically; 2. To provide intelligence on challenges and opportunities to increase foreign sales; 3. To identify policies, programs and initiatives to support foreign sales in other jurisdic- tions and make recommendations to ensure that Canadian initiatives are competitive. For the purpose of this study, Canadian film exports were defined as sales of rights. These included pre-sales, sold in advance of the completion of films and often used to finance pro- duction, and sales of rights to completed feature films. In other jurisdictions foreign sales are being measured in a number of ways, including the number of box office admissions, box of- fice revenues, and sales of rights. -
Bad Cops: a Study of Career-Ending Misconduct Among New York City Police Officers
The author(s) shown below used Federal funds provided by the U.S. Department of Justice and prepared the following final report: Document Title: Bad Cops: A Study of Career-Ending Misconduct Among New York City Police Officers Author(s): James J. Fyfe ; Robert Kane Document No.: 215795 Date Received: September 2006 Award Number: 96-IJ-CX-0053 This report has not been published by the U.S. Department of Justice. To provide better customer service, NCJRS has made this Federally- funded grant final report available electronically in addition to traditional paper copies. Opinions or points of view expressed are those of the author(s) and do not necessarily reflect the official position or policies of the U.S. Department of Justice. This document is a research report submitted to the U.S. Department of Justice. This report has not been published by the Department. Opinions or points of view expressed are those of the author(s) and do not necessarily reflect the official position or policies of the U.S. Department of Justice. Bad Cops: A Study of Career-Ending Misconduct Among New York City Police Officers James J. Fyfe John Jay College of Criminal Justice and New York City Police Department Robert Kane American University Final Version Submitted to the United States Department of Justice, National Institute of Justice February 2005 This project was supported by Grant No. 1996-IJ-CX-0053 awarded by the National Institute of Justice, Office of Justice Programs, U.S. Department of Justice. Points of views in this document are those of the authors and do not necessarily represent the official position or policies of the U.S. -
Video Games: Changing the Way We Think of Home Entertainment
Rochester Institute of Technology RIT Scholar Works Theses 2005 Video games: Changing the way we think of home entertainment Eri Shulga Follow this and additional works at: https://scholarworks.rit.edu/theses Recommended Citation Shulga, Eri, "Video games: Changing the way we think of home entertainment" (2005). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. Video Games: Changing The Way We Think Of Home Entertainment by Eri Shulga Thesis submitted in partial fulfillment of the requirements for the degree of Master of Science in Information Technology Rochester Institute of Technology B. Thomas Golisano College of Computing and Information Sciences Copyright 2005 Rochester Institute of Technology B. Thomas Golisano College of Computing and Information Sciences Master of Science in Information Technology Thesis Approval Form Student Name: _ __;E=.;r....;...i S=-h;....;..;u;;;..;..lg;;i..;:a;;...__ _____ Thesis Title: Video Games: Changing the Way We Think of Home Entertainment Thesis Committee Name Signature Date Evelyn Rozanski, Ph.D Evelyn Rozanski /o-/d-os- Chair Prof. Andy Phelps Andrew Phelps Committee Member Anne Haake, Ph.D Anne R. Haake Committee Member Thesis Reproduction Permission Form Rochester Institute of Technology B. Thomas Golisano College of Computing and Information Sciences Master of Science in Information Technology Video Games: Changing the Way We Think Of Home Entertainment L Eri Shulga. hereby grant permission to the Wallace Library of the Rochester Institute of Technofogy to reproduce my thesis in whole or in part. -
Appalling! Terrifying! Wonderful! Blaxploitation and the Cinematic Image of the South
Antoni Górny Appalling! Terrifying! Wonderful! Blaxploitation and the Cinematic Image of the South Abstract: The so-called blaxploitation genre – a brand of 1970s film-making designed to engage young Black urban viewers – has become synonymous with channeling the political energy of Black Power into larger-than-life Black characters beating “the [White] Man” in real-life urban settings. In spite of their urban focus, however, blaxploitation films repeatedly referenced an idea of the South whose origins lie in antebellum abolitionist propaganda. Developed across the history of American film, this idea became entangled in the post-war era with the Civil Rights struggle by way of the “race problem” film, which identified the South as “racist country,” the privileged site of “racial” injustice as social pathology.1 Recently revived in the widely acclaimed works of Quentin Tarantino (Django Unchained) and Steve McQueen (12 Years a Slave), the two modes of depicting the South put forth in blaxploitation and the “race problem” film continue to hold sway to this day. Yet, while the latter remains indelibly linked, even in this revised perspective, to the abolitionist vision of emancipation as the result of a struggle between idealized, plaintive Blacks and pathological, racist Whites, blaxploitation’s troping of the South as the fulfillment of grotesque White “racial” fantasies offers a more powerful and transformative means of addressing America’s “race problem.” Keywords: blaxploitation, American film, race and racism, slavery, abolitionism The year 2013 was a momentous one for “racial” imagery in Hollywood films. Around the turn of the year, Quentin Tarantino released Django Unchained, a sardonic action- film fantasy about an African slave winning back freedom – and his wife – from the hands of White slave-owners in the antebellum Deep South. -
Junior Mints and Their Bigger Than Bite-Size Role in Complicating Product Placement Assumptions
Salve Regina University Digital Commons @ Salve Regina Pell Scholars and Senior Theses Salve's Dissertations and Theses 5-2010 Junior Mints and Their Bigger Than Bite-Size Role in Complicating Product Placement Assumptions Stephanie Savage Salve Regina University, [email protected] Follow this and additional works at: https://digitalcommons.salve.edu/pell_theses Part of the Advertising and Promotion Management Commons, and the Marketing Commons Savage, Stephanie, "Junior Mints and Their Bigger Than Bite-Size Role in Complicating Product Placement Assumptions" (2010). Pell Scholars and Senior Theses. 54. https://digitalcommons.salve.edu/pell_theses/54 This Article is brought to you for free and open access by the Salve's Dissertations and Theses at Digital Commons @ Salve Regina. It has been accepted for inclusion in Pell Scholars and Senior Theses by an authorized administrator of Digital Commons @ Salve Regina. For more information, please contact [email protected]. Savage 1 “Who’s gonna turn down a Junior Mint? It’s chocolate, it’s peppermint ─it’s delicious!” While this may sound like your typical television commercial, you can thank Jerry Seinfeld and his butter fingers for what is actually one of the most renowned lines in television history. As part of a 1993 episode of Seinfeld , subsequently known as “The Junior Mint,” these infamous words have certainly gained a bit more attention than the show’s writers had originally bargained for. In fact, those of you who were annoyed by last year’s focus on a McDonald’s McFlurry on NBC’s 30 Rock may want to take up your beef with Seinfeld’s producers for supposedly showing marketers the way to the future ("Brand Practice: Product Integration Is as Old as Hollywood Itself"). -
Glenn-Garland-Editor-Credits.Pdf
GLENN GARLAND, ACE Editor Television PROJECT DIRECTOR STUDIO / PRODUCTION CO. WELCOME TO THE BLUMHOUSE: BLACK BOX Emmanuel Osei-Kuffour Amazon / Blumhouse Productions EP: Jay Ellis, Jason Blum, Aaron Bergman PARADISE CITY*** (series) Ash Avildsen Sumerian Films EP: Lorenzo Antonucci PREACHER (season 3) Various AMC / Sony Pictures Television EP: Sam Catlin, Seth Rogen, Evan Goldberg ALTERED CARBON** (series) Various Netflix / Skydance EP: Laeta Kalogridis, James Middleton, Steve Blackman STAN AGAINST EVIL (series) Various IFC / Radical Media EP: Dana Gould, Frank Scherma, Tom Lassally BANSHEE (series) Ole Christian Madsen HBO / Cinemax Magnus Martens EP: Alan Ball THE VAMPIRE DIARIES (series) Various CW / Warner Bros. Television EP: Julie Plec, Kevin Williamson Feature Films PROJECT DIRECTOR STUDIO / PRODUCTION CO. BROKE Carlyle Eubank Wild West Entertainment Prod: Wyatt Russell, Alex Hertzberg, Peter Billingsley THE TURNING Floria Sigismondi Amblin Partners 3 FROM HELL Rob Zombie Lionsgate FAMILY Laura Steinel Sony Pictures / Annapurna Pictures Official Selection: SXSW Film Festival Prod: Kit Giordano, Sue Naegle, Jeremy Garelick SILENCIO Lorena Villarreal 5100 Films / Prod: Beau Genot 31 Rob Zombie Lionsgate / Saban Films Official Selection: Sundance Film Festival Prod: Mike Elliot, Andy Gould THE QUIET ONES John Pogue Lionsgate / Exclusive Media LORDS OF SALEM Rob Zombie Blumhouse / Anchor Bay Entertainment LOVE & HONOR Danny Mooney IFC Films / Red 56 HALLOWEEN 2 Rob Zombie Dimension Films BUNRAKU* Guy Moshe Snoot Entertainment Official -
Dreamworlds 3: Desire, Sex & Power in Music Video
MEDIA EDUCATION F O U N D A T I O N STUDY GUIDE DREAMWORLDS 3: DESIRE, SEX & POWER IN MUSIC VIDEO STUDY GUIDE WRITTEN BY BILL YOUSMAN, JEREMY EARP & JAKE GEISSMAN CONTENTS NOTE TO TEACHERS 3 OVERVIEW 4 PRE-VIEWING DISCUSSION QUESTIONS 4 INTRODUCTION 5 Key Points 5 Discussion Questions 5 Assignments 6 TECHNIQUES OF STORYTELLING 7 Key Points 7 Discussion Questions 8 Assignments 8 CONSTRUCTING FEMININITY 9 Key Points 9 Discussion Questions 10 Assignments 11 THE PORNOGRAPHIC IMAGINATION 12 Key Points 12 Discussion Questions 13 Assignments 14 WAYS OF LOOKING 15 Key Points 15 Discussion Questions 17 Assignments 17 FEMALE ARTISTS: TRAPPED IN THE PORNOGRAPHIC GAZE 18 Key Points 18 Discussion Questions 19 Assignments 19 MASCULINITY AND CONTROL 20 Key Points 20 Discussion Questions 22 Assignments 23 ADDITIONAL RESCOURCES 24 Recommended Reading 24 Other MEF Films on Related Issues 26 MEDIA EDUCATION FOUNDATION | www.MEDIAED.org 2 This study guide may be reproduced for educational, non-profit uses only. © 2007 NOTE TO TEACHERS This study guide is designed to help you and your students engage and manage the information presented in this video. Given that it can be difficult to teach visual content—and difficult for students to recall detailed information from videos after viewing them—the intention here is to give you a tool to help your students slow down and deepen their thinking about the specific issues this video addresses. With this in mind, we’ve structured the guide so that you have the option of focusing in depth on one section of the video at a time.