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Constructing, Programming, and Branding Celebrity on Reality Television
UNIVERSITY OF CALIFORNIA Los Angeles Producing Reality Stardom: Constructing, Programming, and Branding Celebrity on Reality Television A dissertation submitted in partial satisfaction of the Requirements for the degree Doctor of Philosophy in Film and Television by Lindsay Nicole Giggey 2017 © Copyright by Lindsay Nicole Giggey 2017 ABSTRACT OF THE DISSERTATION Producing Reality Stardom: Constructing, Programming, and Branding Celebrity on Reality Television by Lindsay Nicole Giggey Doctor of Philosophy in Film and Television University of California, Los Angeles, 2017 Professor John T. Caldwell, Chair The popular preoccupation with celebrity in American culture in the past decade has been bolstered by a corresponding increase in the amount of reality programming across cable and broadcast networks that centers either on established celebrities or on celebrities in the making. This dissertation examines the questions: How is celebrity constructed, scheduled, and branded by networks, production companies, and individual participants, and how do the constructions and mechanisms of celebrity in reality programming change over time and because of time? I focus on the vocational and cultural work entailed in celebrity, the temporality of its production, and the notion of branding celebrity in reality television. Dissertation chapters will each focus on the kinds of work that characterize reality television production cultures at the network, production company, and individual level, with specific attention paid to programming focused ii on celebrity making and/or remaking. Celebrity is a cultural construct that tends to hide the complex labor processes that make it possible. This dissertation unpacks how celebrity status is the product of a great deal of seldom recognized work and calls attention to the hidden infrastructures that support the production, maintenance, and promotion of celebrity on reality television. -
DAN HILAND Re-Recording Mixer
DAN HILAND Re-Recording Mixer RE-RECORDING MIXER | SELECT TELEVISION CREDITS & AWARDS CATCH-22 David Michod Paramount Television INSATIABLE Lauren Gussis CBS Television Studios BATWOMAN Caroline Dries WBTV Gary Dauberman/Mark SWAMP THING Verheiden DC Universe THE RED LINE Cairlin Parrish WBTV ALL AMERICAN April Blair WBTV LOVE IS Mara Brock Akil OWN SABRINA THE TEENAGE WITCH Jonathan Schmock Viacom Productions TITANS Greg Berlanti DC Entertainment THE LEFTOVERS Damon Lindelof HBO THE FLASH Greg Berlanti WBTV EMPIRE Lee Daniels Imagine Television CINNAMON GIRL (TV Movie) Gavin O'Connor Fox 21 WITCHES OF EAST END Maggie Friedman Lifetime ARROW Greg Berlanti WBTV RAY DONOVAN (Pilot) Ann Biderman Showtime Networks MOB CITY Frank Darabont TNT Originals POLITICAL ANIMALS Greg Berlanti WBTV HOUSE OF LIES Matthew Carnahan Showtime Networks HART OF DIXIE Leila Gerstein WBTV THE WALKING DEAD Frank Darabont (2010) (2012/2014/2015/2016) AMC DARK BLUE Danny Cannon/Doug Jung TNT Originals IN PLAIN SIGHT David Maples USA Network CHASE Jennifer Johnson WBTV NO ORDINARY FAMILY (Pilot) Greg Berlanti ABC Studios THE WHOLE TRUTH Tom Donaghy WBTV J.J. Abrams FRINGE (Pilot) (2009) WBTV Warner Bros. Post Production Creative Services | 4000 Warner Blvd. | Burbank, CA 91522 | 818.954.7825 Award Key: W for Win | N for Nominated OSCAR | BAFTA | EMMY | MPSE | CAS LIMELIGHT (Pilot) David Semel, WBTV HUMAN TARGET Jonathan E. Steinberg WBTV EASTWICK Maggie Friedman WBTV V (Pilot) Kenneth Johnson WBTV TERMINATOR: THE SARAH CONNER Josh Friedman CHRONICLES WBTV CAPTAIN -
Roy Huggins Papers, 1948-2002
http://oac.cdlib.org/findaid/ark:/13030/c8g15z7t No online items Roy Huggins Papers, 1948-2002 Finding aid prepared by Performing Arts Special Collections Staff; additions processed by Peggy Alexander; machine readable finding aid created by Caroline Cubé. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA, 90095-1575 (310) 825-4988 [email protected] © 2012 The Regents of the University of California. All rights reserved. Roy Huggins Papers, 1948-2002 PASC 353 1 Title: Roy Huggins papers Collection number: PASC 353 Contributing Institution: UCLA Library Special Collections Language of Material: English Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact UCLA Library Special Collections for paging information. Physical Description: 20 linear ft.(58 boxes) Date: 1948-2002 Abstract: Papers belonging to the novelist, blacklisted film and television writer, producer and production manager, Roy Huggins. The collection is in the midst of being processed. The finding aid will be updated periodically. Creator: Huggins, Roy 1914-2002 Restrictions on Access Open for research. STORED OFF-SITE AT SRLF. Advance notice is required for access to the collection. Please contact UCLA Library Special Collections for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UC Regents. Literary rights, including copyright, are retained by the creators and their heirs. It is the responsibility of the researcher to determine who holds the copyright and pursue the copyright owner or his or her heir for permission to publish where The UC Regents do not hold the copyright. -
Minesgameday #5 Colorado School of Mines Vs
MINESGAMEDAY #5 COLORADO SCHOOL OF MINES VS. #24 COLORADO MESA OCT. 19, 2018 • STERMOLE SOCCER STADIUM #5 Mines hosts #24 Colorado Mesa in a critical RMAC, South Central Regional showdown at Stermole Stadium. WHAT’S ON THE LINE claims the nickname Mavericks for its athletics The #5-ranked Colorado School of Mines Men’s teams. In the context of CMU, a maverick is defined Soccer team welcomes #24 Colorado Mesa and as an unbranded calf or yearling. However, the Fort Lewis to Stermole Stadium this weekend term more commonly refers to an unorthodox or for a pair of RMAC showdowns. Sitting at 13-1-0 independent-minded person. Maverick is also the overall and 10-0-0 in the conference, Mines needs nickname of Tom Cruise’s character in the 1986 film just two wins this weekend to clinch the RMAC Top Gun, as well as a steel roller coaster and Cedar Regular-Season Championship. However, with the Point amusement park in Sandusky, Ohio. Maverick Mavericks tied for #24 in the nation and Fort Lewis is also the title of the famous western television fighting for a conference tournament berth, the show created by Roy Huggins, running from 1957- task will be tall. 62, starring James Garner. SCOUTING COLORADO MESA SERIES HISTORY Colorado Mesa journeys across the mountains Mines is 17-5-0 in the all-time series against Colora- MINES SCHEDULE following its first loss of the season, falling 2-0 at do Mesa. Since 2015, Mines is 4-1 against Colorado 8/31 #15 St. Edward’s W 2-0 home against Westminster. -
Roy Huggins Collection
http://oac.cdlib.org/findaid/ark:/13030/c87w6k90 No online items Roy Huggins Collection Finding aid created by Writers Guild Foundation Archive staff using RecordEXPRESS Writers Guild Foundation Archive 7000 West Third Street Los Angeles, California 90048 (323) 782-4680 [email protected] https://www.wgfoundation.org/archive/ 2020 Roy Huggins Collection WGF-MS-073 1 Descriptive Summary Title: Roy Huggins Collection Dates: 1956-1984 Collection Number: WGF-MS-073 Creator/Collector: Extent: 3 linear feet (3 boxes) Repository: Writers Guild Foundation Archive Los Angeles, California 90048 Abstract: This collection contains scripts and other material related to the TV shows that Huggins created and/or worked on and contains a copy of his unpublished autobiography. Language of Material: English Access Open for research, available by appointment only. Some materials stored offsite. One week advance notice required for retrieval. Publication Rights The responsibility to secure copyright and publication permission rests with the researcher. Preferred Citation Roy Huggins Collection. Writers Guild Foundation Archive Biography/Administrative History Born July 18, 1914, Roy Huggins enjoyed a prolific career as a TV writer/producer, creating Maverick, 77 Sunset Strip, The Fugitive and co-creating The Rockford Files with Stephen J. Cannell. Later in his career, he often took writing credit under pseudonyms such as Thomas Fitzroy or John Thomas James. In 1994, he received the Golden Laurel Award from the Producers Guild of America. Huggins, who was married to actress Adele Mara, passed away April 3, 2002 and he is survived by his five children. Scope and Content of Collection The bulk of the collection consists of scripts from the shows Huggins created and/or wrote on including 77 Sunset Strip, Maverick, Blue Thunder, Bus Stop, Kraft Suspense Theater, Kraft Mystery Theater, Cheyenne, Rockford Files and Run For Your Life. -
New York to Hollywood: Advertising, Narrative Formats, and Changing Televisual Space in the 1950'S
Bard College Bard Digital Commons Senior Projects Spring 2017 Bard Undergraduate Senior Projects Spring 2017 New York to Hollywood: Advertising, Narrative Formats, and Changing Televisual Space in the 1950's Peter McCormack Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2017 Part of the United States History Commons, and the Visual Studies Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation McCormack, Peter, "New York to Hollywood: Advertising, Narrative Formats, and Changing Televisual Space in the 1950's" (2017). Senior Projects Spring 2017. 148. https://digitalcommons.bard.edu/senproj_s2017/148 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. From New York to Hollywood: Advertising, Narrative Formats, and Changing Televisual Space in the 1950’s Senior Project Submitted to The Division of Social Studies of Bard College by Peter McCormack Annandale-on-Hudson, New York May 2017 ii From New York to Hollywood iii Acknowledgements I would like to thank my parents first and foremost. I don’t think I’ve ever taken the time to bore them with the intimate details of this project. -
Frons Launches Soap Sensation
et al.: SU Variety II SPECIAL 'GOIN' HOLLYWOOD' EDITION II NEWSPAPER Second Class P.O. Entry Supplement to Syracuse University Magazine CURTIS: IN MINIS Role Credits! "War" Series Is All-Time Screen Dream Syracuse- We couldn't pos sibly get 'em all, but in these 8 By RENEE LEVY series "Winds of War," based on to air in late spring and the entire pages find another 40-plus SU Hollywood- The longest. The Herman Wouk 's epic World War II package will air in Europe next year. alumni getting billboards on most demanding. The hardest. The novels, "War and Remembrance" Curtis, exec producer, director the boulevard. In our research, most expensive. That's the story was shot in 757 locations in 10 and co-scribe of the teleplay, spent we discovered a staggering net behind Dan Curtis 'SO's block countries, using more than 44,000 two years filming and a year and a work of Syracusans in the busi buster miniseries " War and Re actors and extras and nearly 800 half editing "War and Remem ness-producers, directors, membrance," which aired the first sets. The production- the longest brance," a project he originally actors, editors, and more! We 18 of its 30 hours in November on in television history--cost an es considered undoable-particular soon realized that all of them ABC-TV. timated $ 105 million to make. The ly because of the naval battles and would not fit, and to those left A sequel to Curtis's 1983 maxi- concluding 12 hours are expected the depiction of the Holocaust. -
Annual Report 2014 Fueling the LGBT Movement Letter from the Board Chair & Executive Director
Annual Report 2014 Fueling the LGBT Movement Letter from the Board Chair & Executive Director This report is about 2014. Yet as this letter is written in 2015, it’s impossible not to start by recognizing the spectacular recent progress of the movement for the rights and dignity of LGBT people: the move to eliminate the ban on transgender people serving in the military; the Equal Employment Opportunity Commission ruling that discrimination on the basis of sexual orientation is illegal; and, of course, the grand marriage victory at the Supreme Court. As we celebrate this dramatic progress, we all know that it comes out of the passion and sacrifices of countless people and the unflagging work of thousands of nonprofit groups, large and small. A relative few make headlines or become well known, but it is the many – not just the few – who make social change happen. These triumphs belong to all of us. Horizons Foundation has had the great privilege of not only being part of many of these historic events, but helping to shape and fuel them. The foundation has been there early. It’s been there often. It’s been there again and again and again. Our first grant for work on LGBT marriage equality, for example, goes back nearly two decades. Our first grant in support of transgender rights happened nearly as long ago. Horizons made the first grant anywhere to fight HIV. As this report relates, the year 2014 – the foundation’s 34th year – built on this powerful legacy. We are especially glad to share the remarkable list of grants made to organizations in every part of the LGBT community, as well as indicators of strong financial growth. -
Volume 8, Number 1
POPULAR CULTURE STUDIES JOURNAL VOLUME 8 NUMBER 1 2020 Editor Lead Copy Editor CARRIELYNN D. REINHARD AMY DREES Dominican University Northwest State Community College Managing Editor Associate Copy Editor JULIA LARGENT AMANDA KONKLE McPherson College Georgia Southern University Associate Editor Associate Copy Editor GARRET L. CASTLEBERRY PETER CULLEN BRYAN Mid-America Christian University The Pennsylvania State University Associate Editor Reviews Editor MALYNNDA JOHNSON CHRISTOPHER J. OLSON Indiana State University University of Wisconsin-Milwaukee Associate Editor Assistant Reviews Editor KATHLEEN TURNER LEDGERWOOD SARAH PAWLAK STANLEY Lincoln University Marquette University Associate Editor Graphics Editor RUTH ANN JONES ETHAN CHITTY Michigan State University Purdue University Please visit the PCSJ at: mpcaaca.org/the-popular-culture-studies-journal. Popular Culture Studies Journal is the official journal of the Midwest Popular Culture Association and American Culture Association (MPCA/ACA), ISSN 2691-8617. Copyright © 2020 MPCA. All rights reserved. MPCA/ACA, 421 W. Huron St Unit 1304, Chicago, IL 60654 EDITORIAL BOARD CORTNEY BARKO KATIE WILSON PAUL BOOTH West Virginia University University of Louisville DePaul University AMANDA PICHE CARYN NEUMANN ALLISON R. LEVIN Ryerson University Miami University Webster University ZACHARY MATUSHESKI BRADY SIMENSON CARLOS MORRISON Ohio State University Northern Illinois University Alabama State University KATHLEEN KOLLMAN RAYMOND SCHUCK ROBIN HERSHKOWITZ Bowling Green State Bowling Green State -
Mr. Television
ZXAUncle Miltie.finaledit 2/21/02 11:26 AM Page 2 MR. TELEVISION ncle Miltie would do gave his all.You had to love anything for a laugh. him. He insisted on it. He jumped onstage in Berle had been one of the outlandish costumes— guest hosts of the Texaco Star sometimes in drag. Theater when it began in the HeU would have pies and spring of 1948, and he took powder puffs and buckets of over as permanent host begin- water thrown into his face. ning with the fall premiere. He would fall over face down— He was an immediate hit— hard—or backward, like a piece literally the reason many families of wood. He would tell jokes decided to buy a television that ranged from the obvious set. He became known as to the ridiculous, and when “Mr.Television” because he a joke died, he would mug, dominated the small screen in cajole, milk, or beg the his era, but the moniker stuck audience until they laughed. because he was an innovator— As an entertainer, he wanted one of the first comedians to to please, so much so that he really understand how to use the medium. Early television audiences had never seen anything like Texaco Star Theater before, even if they had seen Berle on Broadway or the vaudeville stage. From the moment the Texaco Service Men launched into the opening jingle (“Oh, we’re the men from Texaco”) to the end of the show (when he sang his theme song,“Near You”),Uncle Miltie worked tirelessly to entertain, bringing 36 ZXAUncle Miltie.finaledit 2/21/02 11:26 AM Page 3 a frantic and infectious energy Berle away from NBC, Berle was a physical comic to the screen. -
{PDF EPUB} Primetime Propaganda the True Hollywood Story of How the Left Took Over Your TV by Ben Shapiro Primetime Propaganda
Read Ebook {PDF EPUB} Primetime Propaganda The True Hollywood Story of How the Left Took Over Your TV by Ben Shapiro Primetime Propaganda. Primetime Propaganda: The True Hollywood Story of How the Left Took Over Your TV is a 2011 book by conservative political commentator Ben Shapiro. In it he argues that producers, executives and writers in the entertainment industry are using television to promote a socialist political agenda. Contents. Content Interview techniques Reception See also References. Content. As one part of the evidence, Shapiro presents statements from taped interviews made by celebrities and TV show creators from Hollywood whom he interviewed for the book. The book include quotes from, among others, the co-creator of Friends , Marta Kauffman, and the creator of Soap and the Golden Girls , Susan Harris. Another argument is that conservatives are shunned in the industry. [1] For example, Vin Di Bona, a producer responsible for many hit television shows, agreed during an interview with Shapiro that Hollywood promotes a liberal political agenda, commenting, "I'm happy about it, actually." Di Bona also said that MacGyver , the cult hit show on which he was a producer, promoted an anti-gun movement position, as the character of MacGyver does not use a gun, but rather his own intelligence. People involved with television shows M*A*S*H and Happy Days told Shapiro that they possessed pacifistic and anti-Vietnam War agendas. [2] Another example is the television show Sesame Street which is accused of deliberately spreading left-wing propaganda to children. [3] Producer Leonard Goldberg stated to Shapiro that in the industry liberalism is "100 percent dominant, and anyone who denies it is kidding, or not telling the truth", and when Shapiro asked if politics are a barrier to entry replied, "Absolutely". -
Peter Greene Holbrook April 13, 1940 - June 22, 2016
Peter Greene Holbrook April 13, 1940 - June 22, 2016 Peter Holbrook was born in New York City, NY. He attended Deerfield Academy in Massachusetts _and received a Bachelor of Fine Arts from Dartmouth College in1961. Peter was born an artist-winning his first award at the age of 7 in the 1s1 grade. His first solo exhibition was at the Carpenter Galleries at Dartmouth College in 1960. Peter in his studio (Photo by Fred Bauer) Following graduation, Peter spent 2 years traveling around Europe, Africa, the Middle East and India. Upon his return to the United States, he enrolled in the Brooklyn Museum Art School. For seven years he worked a variety of jobs in Chicago, from draftsman to taxi driver, and began to exhibit his art work professionally and lecture at the Unive.rsity of Illinois Chicago Circle Campus. It was during this period that photorealism began to emerge as a counter to abstract expressionism. This genre suited Peter's dual interests in photography and painting, although his own approach was to use deliberately applied brushwork and line to suggest the landscape rather than replicate it. In an interview with Rosemary Carstens for an article in Southwest Art magazine, Peter states: "I have always admired the great realists. There's a basic visual magic in the ability of pigment to credibly translate a three-dimensional world into a flat two-dimensional world on paper and canvas. A good painting allows us to momentarily enter another's consciousness and implies dimensions beyond what is normally seen. It makes painting a spiritual exercise, requiring imagination to create credibility." Peter decided he had had enough of city life and came West to California in 1970, bought land in Briceland in Humboldt County and began to build his home.