The Other Talent Show New, Different, Exciting: RTL 4’S the Voice of Holland
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6Th Lily Supplement
The International Lily Register & Checklist (2007) Sixth Supplement © 2019 The Royal Horticultural Society 80 Vincent Square, London SW1P 2PE, United Kingdom www.rhs.org.uk Charity registration number 222879 / SC038262 International Registrar: Duncan Donald E-mail: [email protected] All rights reserved. No part of this book may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright holder ISBN 9781907057960 Printed and bound in the UK by Page Bros, Norwich (MRU) The previous supplement (Fifth Supplement) was published on 13th February 2017 Cover: Lilium ‘Willcrovidii’; drawing of Award of Merit plant by Winifred Walker, 1932. Image courtesy of RHS Herbarium, Wisley The International Lily Register and Checklist 2007 Sixth Supplement Introduction page 1 Notes on the entries page 2 Horticultural Classification page 4 Register and Checklist page 6 List of registrants page 116 The lily epithets listed here were registered between 1 September 2014 and 31 August 2016. Details of lilies with unregistered names are published also, as a Checklist, as are significant amendments to existing registrations. Epithets which conformed to the Articles (and, ideally, Recommendations) of the 2009 edition of the International Code of Nomenclature for Cultivated Plants (ICNCP) were deemed acceptable for registration [though entries have subsequently been updated to the 2016 edition, including the new use of adopted epithets]. Although registration is a voluntary procedure and does not confer any legal protection on the plant, the Royal Horticultural Society – as International Cultivar Registration Authority for Lilium – urges all hybridizers, raisers and introducers to register their lily names, to minimize potential confusion caused by new epithets the same as, or very similar to, existing names. -
Franquicia Televisiva En Formato Talent Show Infantil Y La Gestualidad En La Performance Del Canto1
Correspondencias & Análisis, 10, julio-diciembre 2019 Esta obra está bajo una Licencia Creative Commons Atribución- NoComercial-CompartirIgual 4.0 Internacional ISSN 2304-2265 (CC BY-NC-SA 4.0). Franquicia televisiva en formato talent show infantil y la gestualidad en la performance del canto1 Recibido: 07/08/2019 Maria Thaís Firmino da Silva Aceptado: 29/10/2019 [email protected] Publicado: 05/12/2019 Universidade Federal do Ceará (Brasil) Maria Érica de Oliveira Lima [email protected] Universidade Federal do Ceará (Brasil) Resumen: Considerando la proliferación de formatos televisivos globales, esta investigación analizó la relación específica entre los medios de comuni- cación y la música en el programa “The Voice Brasil Kids 2018”. El propó- sito fue entender cómo la gestualidad evidenciada genera una brecha entre las características infantiles del talent show y los significados implementa- dos en performances previamente determinadas. Este estudio cualitativo (con investigación bibliográfica, análisis de contenido, análisis estructural) pre- senta argumentos sobre aspectos que implican producciones en formatos y se establece por el sesgo de análisis que reconoce el gesto como elemento de comunicación con significativo impacto en la performance mediatizada técnicamente. Por último, esta investigación señala que la brecha entre la es- pecificidad infantil del programa y la gestualidad (implementada en actuacio- nes previamente determinadas) se apoya en el uso de gestos con significados orientados a la esfera adulta y que el repertorio también puede reforzar esta perspectiva. 1. Este artículo forma parte del resultado presentado en la tesis de maestría en comunicación, titulada “Franquia televisiva em formato talent show infantil e a gestualidade na performance do canto”, defendida por Firmino da Silva (2019) en la Universidade Federal de Ceará (Brasil). -
Awkwardness on Dutch Television
Awkwardness on Dutch television A research to identify the construction of on-screen awkward moments in nine contemporary Dutch reality-based television programs Author: Thomas de Boer University of Amsterdam Student number: 10764976 Master’s Thesis E-mail: [email protected] MA Television and Cross-media Culture Supervisor: Dhr. dr. J.W. Kooijman Professional track - documentary Second reader: Mw. dr. J.C. Hermes June 2017 2 ABSTRACT Awkwardness has become a very popular form of humour in our society. Not only in real life, but on-screen as well. In this thesis nine reality-based programs of the Dutch television landscape are analysed on the awkward moments they show and how these moments are constructed. The different positions of respectively the maker, the subject and the viewer are all examined in relation to the construction of awkward moments. Drawing upon genre theories and the book on awkwardness of Jason Middleton, this thesis identifies how awkwardness is constructed in contemporary reality-based media products. Awkwardness is a strong, affective narrative tool that is used commonly, either intended or unintended. Keywords: awkwardness – conventions – genre – reality TV – humour – ordinary – social norms – Dutch television 3 Foreword I am writing this foreword of my thesis, the day of Donald J. Trump’s inauguration as the next President of the United States. It is no joke, it really happened. Something totally unexpected happened. The orange clown, who had the most minimalistic argumentation ever during his campaign last year, became the President of the United States. Apparently a man who said “Grab ‘m by the pussy!”, who starred in Wrestlemania 231 and who denies climate change, is able to be elected as the most powerful leader in the world. -
Gratifications About Reality Television “The Voice of China” Among Chinese Audience
GRATIFICATIONS ABOUT REALITY TELEVISION “THE VOICE OF CHINA” AMONG CHINESE AUDIENCE GRATIFICATIONS ABOUT REALITY TELEVISION “THE VOICE OF CHINA” AMONG CHINESE AUDIENCE Xin Zhao This Independent Study Manuscript Presented to The Graduate School of Bangkok University in Partial Fulfillment of the Requirements for the Degree Master of Communication Arts 2014 ©2014 Xin Zhao AllRight Reserved Xin Zhao, Master of Communication, July 2014, Graduate School, Bangkok University. Gratifications about Reality Television “The Voice of China” among Chinese Audience (66 pp.) Advisor : Assoc. Prof. Boonlert Supadhiloke, Ph. D. ABSTRACT The main objective of this study is to apply the uses and gratifications approach to investigate “The Voice of China”, the most successful talent show in china for past two years. The research examines the motives for watching and satisfaction of audience through comparing the gratifications sought and gratifications obtained. A quantitative survey is be used to collect data. The samples are selected by convenience sampling method and all of the samples are 231. The mean and standard deviation are tabulated and analyzed by using paired sample t-test. The finding suggests that the primary motives for watching “The Voice of China” among Chinese audiences are social interaction, entertainment and relaxing, but not vicarious participation or perceived reality. And the gratifications are well obtained indicates high audience satisfaction for the program content. v ACKNOWLEDGMENT My experience as a graduate student has been an exciting and challenging journey. I would like to acknowledge all of my committee members for their helpful suggestions and comments. First, I would like to thank Dr. Boonlert Supadhiloke, for his direction on this IS paper. -
The Voice of Holland: Allograph Production in Written Dutch Past Tense Inflection De Bree, E.; Van Der Ven, S.; Van Der Maas, H
UvA-DARE (Digital Academic Repository) The Voice of Holland: Allograph Production in Written Dutch Past Tense Inflection de Bree, E.; van der Ven, S.; van der Maas, H. DOI 10.1080/15475441.2016.1217777 Publication date 2017 Document Version Final published version Published in Language Learning and Development License CC BY-NC-ND Link to publication Citation for published version (APA): de Bree, E., van der Ven, S., & van der Maas, H. (2017). The Voice of Holland: Allograph Production in Written Dutch Past Tense Inflection. Language Learning and Development, 13(3), 215-240. https://doi.org/10.1080/15475441.2016.1217777 General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:24 Sep 2021 LANGUAGE LEARNING AND DEVELOPMENT 2017, VOL. -
C72f99e6-0E06-4C50-A755-473Aab0b2680 Worldreginfo - C72f99e6-0E06-4C50-A755-473Aab0b2680 Key Figures 2008 – 2012
WorldReginfo - c72f99e6-0e06-4c50-a755-473aab0b2680 WorldReginfo - c72f99e6-0e06-4c50-a755-473aab0b2680 Key Figures 2008 – 2012 shAre PriCe PerFormanCe 2008 – 2012 – 6.5 % (2012: – 1.9 %) INDEX = 100 rTl group dJ sToXX – 16.1 % (2012: + 17.5 %) r evenue (€ million) e quiTy (€ million) 12 5,998 12 4,858 11 5,765 11 5,093 10 5,532 10 5,597 09 5,156 09 5,530 08 5,774 08 5,871 e BiTA (€ million) M ArKeT Capitalisation (€ billion)* 12 1,078 12 11.7 11 1,134 11 11.9 10 1,132 10 11.9 09 796 09 7.3 08 916 08 6.6 *Asof31December n eT ProFiT AttriButaBle To rTl grouP shAreholders (€ million) To tal dividend Per shAre (€ ) 12 597 12 10.50 11 696 11 5.10 10 611 10 5.00 09 205 09 3.50 08 194 08 3.50 Dividend payout 2008− 2012: € 4.2 billion WorldReginfo - c72f99e6-0e06-4c50-a755-473aab0b2680 2012 A nnuAl rePorT T he leAding euro PeAn en TerTAinMenT n eTworK WorldReginfo - c72f99e6-0e06-4c50-a755-473aab0b2680 RTL Television’s AlarmfürCobra11, Germany’s most popular action series, has become a hit format in some 140 countries around the globe. Since 2012, it has been one of the signature series of the newly launched action channel, Big RTL Thrill, in India WorldReginfo - c72f99e6-0e06-4c50-a755-473aab0b2680 ConTenTs Corporate information 6 Chairman’s statement 8 Chief executives’ report 14 Profit centres at a glance 16 The year in review 16 Broadcast 34 Content 60 Digital 72 Red Carpet 76 Corporate responsibility 92 Operations 94 How we work 96 The Board / executive Committee Financial information 104 directors’ report 110 Mediengruppe RTL Deutschland 114 Groupe M6 117 FremantleMedia 120 RTL Nederland 123 RTL Belgium 126 RTL Radio (France) 128 Other segments 143 Management responsibility statement 144 Consolidated financial statements 149 Notes 210 Auditors’ report 212 RTl group overview 214 Credits 215 Fully consolidated profit centres at a glance 217 Five-year summary WorldReginfo - c72f99e6-0e06-4c50-a755-473aab0b2680 irman’s ChA enT stateM Thomas rabe ChairmaN of The board of DiRectors In 2012, RTL Group delivered solid financial results. -
Comunicar 43: Media Prosumers. Participatory Culture of Audiences and Media Responsability
© COMUNICAR, 43; XXII MEDIA EDUCATION RESEARCH JOURNAL ISSN: 1134-3478 / DL: H-189-93 / e-ISSN: 1988-3293 Andalusia (Spain), n. 43; vol. XXII 2nd semester, 01 July 2014 INDEXED INTERNATIONAL RESEARCH JOURNAL INTERNATIONAL DATABASES LIBRARY CATALOGUES • JOURNAL CITATION REPORTS (JCR) (Thomson Reuters)® • WORLDCAT • SOCIAL SCIENCES CITATION INDEX / SOCIAL SCISEARCH (Thomson Reuters) • REBIUN/CRUE • SCOPUS® • SUMARIS (CBUC) • ERIH (European Science Foundation) • NEW-JOUR • FRANCIS (Centre National de la Recherche Scientifique de Francia) • ELEKTRONISCHE ZEITSCHRIFTENBIBLIOTHEK (Electronic Journals Library) • SOCIOLOGICAL ABSTRACTS (ProQuest-CSA) • THE COLORADO ALLIANCE OF RESEARCH LIBRARIES • COMMUNICATION & MASS MEDIA COMPLETE • INTUTE (University of Manchester) • ERA (Educational Research Abstract) • ELECTRONICS RESOURCES HKU LIBRARIES (Hong Kong University, HKU) • IBZ (Internat. Bibliography of Periodical Literature in the Social Sciences) • BIBLIOTECA DIGITAL (University of Belgrano) • IBR (International Bibliography of Book Reviews in the Social Sciences) BIBLIOGRAPHICAL DATABASES • SOCIAL SERVICES ABSTRACTS • DIALNET (Alertas de Literatura Científica Hispana) • ACADEMIC SEARCH COMPLETE (EBSCO) • PSICODOC • MLA (Modern International Bibliography) • REDINED (Ministerio de Educación de Spain) • COMMUNICATION ABSTRACTS (EBSCO) • CEDAL (Instituto Latinoamericano de Comunicación Educativa: ILCE) • EDUCATION INDEX/Abstracts, OmniFile Full Text Megs/Select (Wilson) • OEI (Centro de Recursos de la Organización de Estados Iberoamericanos) • -
The Voice Est Une Émission De Télévision De Télé-Crochet Musical Créée En Hollande
The Voice est une émission de télévision de télé-crochet musical créée en Hollande. The Voice of Holland a eu un très gros succès, ce qui a très vite intéressé les États- Unis et ensuite les pays de l’Europe. En ce moment, elle est l’émission de télé- crochet la plus regardée en Europe. En France The Voice, la plus belle voix est arrivée en France le 25 février 2012 et a réuni 8 millions de téléspectateurs. Quatre saisons ont déjà été diffusées à la télévision. L'émission est présentée par Nikos Aliagas et les quatre coachs sont Jenifer, Garou, Louis Bertignac et Florent Pagny. Les auditions à l’aveugle C’est un mélange d'émissions qui ont déjà fait leurs preuves, comme Super Idol, Nouvelle Star, Star Académie et The X Factor. The Voice a un petit truc en plus, qui fait la différence : les talents sont d'abord sélectionnés à l'aveugle. Les quatre coachs sont assis dans de fauteuils et tournent le dos aux aspirantes pop stars. Les candidats sont ainsi jugés uniquement sur le son de leur voix. Quand un candidat plait à un coach, ce dernier presse un bouton, ce qui fait tourner son fauteuil. Si plusieurs jurés décident de faire face au candidat, celui-ci peut choisir lequel sera son coach personnel. Si aucun des jurés ne se retourne, le candidat repart tout simplement. Les Batailles Les candidats sélectionnés sont partagés en équipes et sont coachés par l'un des membres du jury, à la manière de The X Factor. S'en suive l'épreuve des "Battles" où les candidats s'affrontent sur scène La scène est aménagée comme un ring, ce qui augmente le stress et l'émotion. -
Adagio Music Repertoire
REPERTOIRE ADAGIO www.adagio.nl [email protected] PDF lijst gesorteerd op: TITEL (onze complete catalogus) Overzicht gemaakt op: 25-09-2021 2019134 'k Vraag Het Jou Alleen Jannes 2017008 's Nachts Na Tweeen De Havenzangers 2017153 't Is Nooit Te Laat Gebroeders Rossig 2018015 (Don't Put Me In) The Ex Files Bellamy Brothers Ft. Buck Owens 2021014 (I Can't Get No) Satisfaction The Rolling Stones 2000005 1 Nacht Alleen Doe Maar 2015172 10.000 Luchtballonnen K3 2009020 100 Years Joey Dyser 2009118 1000 En 1 Gedachten Hansen Tomas 2010147 1000 Keer Aan Jou Gedacht Corry Konings 2007067 1000 Lieve Woorden Frans Bauer 2020048 1000 Traume Weit (Tornero - Versie 2020) Anna-Maria Zimmermann 2015149 1000 Traume Weit (Tornero) Anne-Maria Zimmermann 2004128 1001 Arabian Nights Chipz 2013061 1001 Nacht De Toppers 2009162 17 En Smoorverliefd Zirkus Zirkus 2020041 17 Miljoen Mensen Fluitsma & Van Thijn 1998162 18 Wielen Henk Wijngaard 2007146 1973 James Blunt 1993112 1999 Prince 1997032 2 Become 1 The Spice Girls 1994151 2 Cowboys Everybody Gonfi Gon 1999112 2 Times Ann Lee 2017045 24 Billen Lytse Hille 2008081 24 Uur Verliefd Gerard Joling 2017086 2U David Guetta Ft. Justin Bieber 2003036 3 Biggetjes K3 1996046 36-24-36 The Shadows 2000067 48 Hours Vengaboys 1998077 5 6 7 8 Steps 2018066 5 In De Klok Frans Duijts 2012148 50 Ways To Say Goodbye Train 1994107 7 Seconds Youssou N'dour 2008125 7 Sunden DJ Otzi & Marc Pircher 2016100 80 Millionen Max Giesinger 1998203 9 PM (Till I Come) ATB 1998048 A Banda Herb Albert 5050010 A Brand New Day Emerald 2005097 A Day In The Sun Rimini Project 2003043 A Dios Le Pido Juanes 1999088 A Fifth Of Beethoven Walter Murphy 2013125 A Forest The Cure 2007057 A Good Thing Di-Rect 2005508 A Hard Days Night The Beatles 2005052 A Little Bit Is Better Than Nada Texas Tornados 1994126 A Little Bit More Dr. -
Pauta Oficial Argentina – México: Un Análisis Comparativo
Universidad de San Andrés Departamento de Ciencias Sociales Licenciatura en Comunicación Pauta Oficial Argentina – México: Un análisis comparativo Autor: Dillon, Patricio Legajo: 26060 Mentor: Marino, Santiago Buenos Aires, 30/07/18 Agradecimientos A mi mentor, por brindarme el conocimiento necesario para planear esta investigación, por servir de guía al llevarla a cabo, y principalmente por presentarme, mediante sus clases, el tema que luego se convertiría en el eje de esta investigación. A mi familia y amigos, por su apoyo incondicional durante los meses que este trabajo demandó. Y, por último, a esta casa de estudios, la Universidad de San Andrés. Por proveerme de un espacio donde los alumnos no reciben trabas, sino herramientas, para enfrentarse a esta clase de desafíos. 2 Índice • . Introducción ........................................................................................................... Pág. 4 • Antecedentes o Por qué estudiar la comunicación política................................................. Pág. 6 o La pauta oficial .......................................................................................... Pág. 7 o Los estudios de la pauta oficial ................................................................. Pág. 9 • Metodología ........................................................................................................... Pág. 17 o Sistemas de medios ................................................................................... Pág. 18 o Legislación ............................................................................................... -
Participatiecultuur Van Live Talentenshows “The Audience Seems to Be Everywhere”
Participatiecultuur van live talentenshows “the audience seems to be everywhere” Ellemijn Willemse 3462862 BA eindwerkstuk Thema: Live Televisie – blok 2 2011/2012 Docent: Judith Keilbach 20 januari 2012 Inhoudsopgave 1. Inleiding p. 3 2. Casus p. 5 3. Participatie(cultuur) van 1956 tot nu p. 7 4. Conclusie p. 16 5. Literatuur p. 18 2 Inleiding “In reality TV, ‘the audience’ seems to be everywhere, more visible than ever. We are hailed directly to have ‘our say’ by voting, imaged as an excitable and boisterous crowd onscreen, constantly discussed by participants when they speculate about how they are being represented and received, solicited to call/text/email our opinions on the shows, and beckoned to step into the television space to traverse the boundary between living room and screen.”1 Holmes’ en Müllers visie op ‘participation’ Televisie is een medium dat sinds zijn ontstaan in de jaren 30 van de twintigste eeuw, continu aan verandering onderhevig is geweest. Technologische ontwikkelingen maakten het mogelijk het ‘televisie kijken’ steeds weer in een nieuwe vorm te gieten. In zijn beginjaren was live-televisie de standaard, omdat de techniek van het opnemen nog in ontwikkeling was. Tegenwoordig wordt live-televisie ingezet om de kijker bij een programma te laten participeren. Met het ontstaan van de mobiele telefoon werd participatie via bellen en sms eind jaren negentig van de twintigste eeuw een heuse hype, zoals in het programma Big Brother2. Met de opkomst van nieuwe media kan de kijker van de eenentwintigste eeuw deelnemen aan televisieprogramma’s via sociale platformen als Twitter en Facebook. Bovenstaand citaat van Sue Holmes omschrijft exact het karakter van de hedendaagse participatiecultuur van live-televisie: “the audience seems to be everywhere.” De vraag is echter of dit echt iets van het digitale tijdperk is. -
Key Figures 2008 – 2012
Key Figures 2008 – 2012 shAre PriCe PerFormanCe 2008 – 2012 – 6.5 % (2012: – 1.9 %) INDEX = 100 rTl group dJ sToXX – 16.1 % (2012: + 17.5 %) r evenue (€ million) e quiTy (€ million) 12 5,998 12 4,858 11 5,765 11 5,093 10 5,532 10 5,597 09 5,156 09 5,530 08 5,774 08 5,871 e BiTA (€ million) M ArKeT Capitalisation (€ billion)* 12 1,078 12 11.7 11 1,134 11 11.9 10 1,132 10 11.9 09 796 09 7.3 08 916 08 6.6 *Asof31December n eT ProFiT AttriButaBle To rTl grouP shAreholders (€ million) To tal dividend Per shAre (€ ) 12 597 12 10.50 11 696 11 5.10 10 611 10 5.00 09 205 09 3.50 08 194 08 3.50 Dividend payout 2008− 2012: € 4.2 billion 2012 A nnuAl rePorT T he leAding euro PeAn en TerTAinMenT n eTworK RTL Television’s AlarmfürCobra11, Germany’s most popular action series, has become a hit format in some 140 countries around the globe. Since 2012, it has been one of the signature series of the newly launched action channel, Big RTL Thrill, in India ConTenTs Corporate information 6 Chairman’s statement 8 Chief executives’ report 14 Profit centres at a glance 16 The year in review 16 Broadcast 34 Content 60 Digital 72 Red Carpet 76 Corporate responsibility 92 Operations 94 How we work 96 The Board / executive Committee Financial information 104 directors’ report 110 Mediengruppe RTL Deutschland 114 Groupe M6 117 FremantleMedia 120 RTL Nederland 123 RTL Belgium 126 RTL Radio (France) 128 Other segments 143 Management responsibility statement 144 Consolidated financial statements 149 Notes 210 Auditors’ report 212 RTl group overview 214 Credits 215 Fully consolidated profit centres at a glance 217 Five-year summary irman’s ChA enT stateM Thomas rabe ChairmaN of The board of DiRectors In 2012, RTL Group delivered solid financial results.