HBO: Brand Management and Subscriber Aggregation: 1972-2007
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Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum
Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum Rivette: Texts and Interviews (editor, 1977) Orson Welles: A Critical View, by André Bazin (editor and translator, 1978) Moving Places: A Life in the Movies (1980) Film: The Front Line 1983 (1983) Midnight Movies (with J. Hoberman, 1983) Greed (1991) This Is Orson Welles, by Orson Welles and Peter Bogdanovich (editor, 1992) Placing Movies: The Practice of Film Criticism (1995) Movies as Politics (1997) Another Kind of Independence: Joe Dante and the Roger Corman Class of 1970 (coedited with Bill Krohn, 1999) Dead Man (2000) Movie Wars: How Hollywood and the Media Limit What Films We Can See (2000) Abbas Kiarostami (with Mehrmax Saeed-Vafa, 2003) Movie Mutations: The Changing Face of World Cinephilia (coedited with Adrian Martin, 2003) Essential Cinema: On the Necessity of Film Canons (2004) Discovering Orson Welles (2007) The Unquiet American: Trangressive Comedies from the U.S. (2009) Goodbye Cinema, Hello Cinephilia Film Culture in Transition Jonathan Rosenbaum the university of chicago press | chicago and london Jonathan Rosenbaum wrote for many periodicals (including the Village Voice, Sight and Sound, Film Quarterly, and Film Comment) before becoming principal fi lm critic for the Chicago Reader in 1987. Since his retirement from that position in March 2008, he has maintained his own Web site and continued to write for both print and online publications. His many books include four major collections of essays: Placing Movies (California 1995), Movies as Politics (California 1997), Movie Wars (a cappella 2000), and Essential Cinema (Johns Hopkins 2004). The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2010 by The University of Chicago All rights reserved. -
Annual Report 1 2015-2016 UNIS Board of Trustees 2015-2016 H.E
Annual Report 1 2015-2016 UNIS Board of Trustees 2015-2016 H.E. Mr. Vijay Nambiar Dr. Virginia Roach Ms. Yvonne Tsang, P '21, P '21 Board Chair Chair, Academic Policy Committee Chair, Advancement Committee Chair, Executive Committee Chair, Trustees Committee Mr. Peter Sorrentino, P '23, P '23 Mr. Santiago Villalpando, P '21, P '25 Chair, Finance and Audit Mr. Michael Adlerstein Chair, Head Support and Evaluation Ms. Jane Camblin Special Representative of the Secretary-General Executive Director Mr. Emmanuel Ago, P '26, P '29 Dr. Franck Barrat, P '19, P '28 Dr. Bornali Basu, P '14 Chair, Health and Safety Committee Ms. Maria Luisa Chavez, '71 Mr. Felipe Dorregaray, P '23, P '26, P '28 Ms. Caryn Groce, '90 Mr. Hervé Houdré, P '25 Ms. Allison Karn, P '23, P '26 Chair, Buildings, Grounds and Security Mrs. Alla Liberman, P '16, P '23, P '23 Mr. Jean-Victor Nkolo, P '24 Mr. Marc Powell, P '24 Chair, Strategic Planning Mr. Manu Rana, '88 United Nations International School Honorary Trustees 2016 Mrs. Sylvia Fuhrman H. E. Mr. Ib Petersen H.E. Mr. Janis Mažeiks Lifetime Honorary Trustee Permanent Mission of Denmark Permanent Mission of the Republic of Latvia Former Special Representative of the Secretary-General for UNIS H. E. Mr. François Delattre H.E. Mr. Geir O. Pedersen Permanent Mission of France Permanent Mission of Norway Mr. Stéphane Dujarric '83 Spokesperson for Secretary-General Ban Ki-moon H. E. Mr. Harald Braun H. E. Mrs. Lyutha Al-Mughairy Former Vice-Chair, UNIS Board of Trustees Permanent Mission of Germany Permanent Mission of the Sultanate of Oman Mr. -
Court Dumps Ps
MANCHESTER FOCUS U.S./WORLD WEATHER GOP panel hears Vanity plates make Carter says Reagan Clearing up tonight; sunny, mild Tuesday from Tom Ferguson Igreat road reading ignored his warning ... see page 2 ... page 3 ... page 16 I ... page 5 ilanrhrfitrr Mrralh Manchester, Conn — A City of Village Charm Monday, March 18, 1985 — Single copy: 25<t Court dumps BBRi _ ■■■ ps>: law limiting PAC dollars By Elizabeth Olson political process. United Press International "A n effort to link either corrup tion or the appearance of corrup WASHINGTON - The Supreme tion to independent expenditures Court today ruled a federal elec by PACS, whether large or small, tion law limiting how much politi simply does not pass" the high cal action committees may spend court’s test for the level of to help presidential candidates governmental interference, Rehn violates the First Amendment's quist concluded. guarantees of speech and political ’’An exchange of political favors association. for uncoordinated expenditures The 7-2 ruling came in a case remains a hypothetical possibility brought by the Democratic Party, and nothing m ore," he said. which tried to get the court to Rehnquist led the majority in decide the issue last year to head rejecting the Democrats challenge off the expenditure of millions of to the law, saying the party did not dollars by political action commit have the legal right to bring such a tees — PACS — for President challenge. Reagan. Justice Thurgood Marshall, PACS are independent political Byron White and William Brennan organizations dedicated to specific — who joined the majority in political goals and campaign inde striking down the law — dissented pendently on behalf of candidates from that part of the ruling. -
Tales of Adversity and Triumph in Collection
c/o Katina Strauch 209 Richardson Avenue MSC 98, The Citadel Charleston, SC 29409 REFERENCE PUBLISHING ISSUE TM volume 28, NUMBER 4 SEPTEMBER 2016 ISSN: 1043-2094 “Linking Publishers, Vendors and Librarians” Emerging from the Dark(room): Tales of Adversity and Triumph in Collection Development by Lindsey Reno (Acquisitions Librarian, Liaison to Fine Arts, Film Theatre, and Music, University of New Orleans, Early K. Long Library) <[email protected]> ollection development can be one of the in the face of adversity. My inspiration for ship in the library. Her article, “Censorship most contentious areas of a library. Ev- this issue came from my own experiences at- in the Library: The Dark Side of Dystopia” Ceryone in the library, as well as patrons tempting to start a leisure reading collection in provides us with the perspectives of both parent and other stakeholders, has an opinion about my library at the University of New Orleans. and librarian. Her recommendations on how to what a particular library should hold. Librari- It took three years of struggle, and countless approach challenges to literature are valuable ans and patrons alike can be fiercely protective meetings, to gain approval. Another story indeed. Everyone wants to read literature that of library collections. Throw in related issues, that inspired me to put together this issue was they can identify with and finding books with like budget cuts and space, and things can get that of LOUIS Consortium colleague Megan characters who mirror ourselves is important. awfully messy. The resulting Lowe, from the University of Unfortunately, the challenge of finding multi- conflicts are many and various. -
Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960S and Early 1970S
TV/Series 12 | 2017 Littérature et séries télévisées/Literature and TV series Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960s and early 1970s Dennis Tredy Electronic version URL: http://journals.openedition.org/tvseries/2200 DOI: 10.4000/tvseries.2200 ISSN: 2266-0909 Publisher GRIC - Groupe de recherche Identités et Cultures Electronic reference Dennis Tredy, « Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960s and early 1970s », TV/Series [Online], 12 | 2017, Online since 20 September 2017, connection on 01 May 2019. URL : http://journals.openedition.org/tvseries/2200 ; DOI : 10.4000/tvseries.2200 This text was automatically generated on 1 May 2019. TV/Series est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Light Shadows: Loose Adaptations of Gothic Literature in American TV Series o... 1 Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960s and early 1970s Dennis Tredy 1 In the late 1960’s and early 1970’s, in a somewhat failed attempt to wrestle some high ratings away from the network leader CBS, ABC would produce a spate of supernatural sitcoms, soap operas and investigative dramas, adapting and borrowing heavily from major works of Gothic literature of the nineteenth and early twentieth century. The trend began in 1964, when ABC produced the sitcom The Addams Family (1964-66), based on works of cartoonist Charles Addams, and CBS countered with its own The Munsters (CBS, 1964-66) –both satirical inversions of the American ideal sitcom family in which various monsters and freaks from Gothic literature and classic horror films form a family of misfits that somehow thrive in middle-class, suburban America. -
Television Academy Awards
2019 Primetime Emmy® Awards Ballot Outstanding Comedy Series A.P. Bio Abby's After Life American Housewife American Vandal Arrested Development Atypical Ballers Barry Better Things The Big Bang Theory The Bisexual Black Monday black-ish Bless This Mess Boomerang Broad City Brockmire Brooklyn Nine-Nine Camping Casual Catastrophe Champaign ILL Cobra Kai The Conners The Cool Kids Corporate Crashing Crazy Ex-Girlfriend Dead To Me Detroiters Easy Fam Fleabag Forever Fresh Off The Boat Friends From College Future Man Get Shorty GLOW The Goldbergs The Good Place Grace And Frankie grown-ish The Guest Book Happy! High Maintenance Huge In France I’m Sorry Insatiable Insecure It's Always Sunny in Philadelphia Jane The Virgin Kidding The Kids Are Alright The Kominsky Method Last Man Standing The Last O.G. Life In Pieces Loudermilk Lunatics Man With A Plan The Marvelous Mrs. Maisel Modern Family Mom Mr Inbetween Murphy Brown The Neighborhood No Activity Now Apocalypse On My Block One Day At A Time The Other Two PEN15 Queen America Ramy The Ranch Rel Russian Doll Sally4Ever Santa Clarita Diet Schitt's Creek Schooled Shameless She's Gotta Have It Shrill Sideswiped Single Parents SMILF Speechless Splitting Up Together Stan Against Evil Superstore Tacoma FD The Tick Trial & Error Turn Up Charlie Unbreakable Kimmy Schmidt Veep Vida Wayne Weird City What We Do in the Shadows Will & Grace You Me Her You're the Worst Young Sheldon Younger End of Category Outstanding Drama Series The Affair All American American Gods American Horror Story: Apocalypse American Soul Arrow Berlin Station Better Call Saul Billions Black Lightning Black Summer The Blacklist Blindspot Blue Bloods Bodyguard The Bold Type Bosch Bull Chambers Charmed The Chi Chicago Fire Chicago Med Chicago P.D. -
Creative Arts Emmy® Awards for Programs and Individual Achievements at the Nokia Theatre L.A
FOR IMMEDIATE RELEASE August 16, 2014 7:00 PM PT The Television Academy tonight (Saturday, August 16, 2014) presented the 2014 Creative Arts Emmy® Awards for programs and individual achievements at the Nokia Theatre L.A. LIVE in Los Angeles. This first ceremony of the 66th Emmy Awards honored guest performers on television dramas and comedy series, as well as the many talented artists and craftspeople behind the scenes to create television excellence. Produced for the 20th year by Spike Jones, Jr., this year’s Creative Arts Awards featured an array of notable presenters, among them Jane Lynch, Tony Hale, Amy Schumer, Allison Janney, Tim Gunn and Heidi Klum, Comedy Central’s Key & Peele, Fred Armisen and Carrie Brownstein, Morgan Freeman, Tony Goldwyn, Aisha Tyler, Joe Manganiello and Carrie Preston. Highlights included Jon Voight’s moving posthumous presentation of the Academy’s prestigious Governors Award to casting icon, Marion Dougherty. Voight was one of Dougherty’s discoveries. The awards, as tabulated by the independent accounting firm of Ernst & Young LLP, were distributed as follows: Program Individual Total HBO 4 11 15 NBC 1 9 10 PBS 2 6 8 Fox 1 6 7 Netflix - 7 7 CBS 1 5 6 ABC 1 4 5 Discovery Channel 2 2 4 Disney Channel 1 3 4 FOX/NatGeo - 4 4 Showtime 1 3 4 Cartoon Network - 3 3 FX Networks - 3 3 Comedy Central - 2 2 Starz - 2 2 Adult Swim - 1 1 AMC - 1 1 CartoonNetwork.com - 1 1 CNN 1 - 1 comcast.com 1 - 1 ESPN 1 - 1 FunnyOrDie.com 1 - 1 justareflektor.com 1 - 1 Nat Geo WILD - 1 1 National Geographic Channel 1 - 1 pivot.tv 1 - 1 TNT 1 - 1 TELEVISION ACADEMY 2014 CREATIVE ARTS EMMY AWARDS This year’s Creative Arts telecast partner is FXM; a two-hour edited version of the ceremony will air Sunday, August 24 at 8:00 PM ET/PT with an encore at 10:00 PM ET/PT on FXM. -
Collection of Television Press Kits, 1958, Ca
http://oac.cdlib.org/findaid/ark:/13030/c87082fc No online items Finding Aid for the Collection of television press kits, 1958, ca. 1974-ca. 2004 Finding aid prepared by Arts Special Collections staff; 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. Finding Aid for the Collection of 1908 1 television press kits, 1958, ca. 1974-ca. 2004 Title: Collection of television press kits Collection number: 1908 Contributing Institution: UCLA Library Special Collections Language of Material: English Physical Description: 9.5 linear ft.(19 boxes and 1 flat box.) Date (inclusive): 1958, ca. 1974-2004 Abstract: This collections documents a variety of television show genres broadcast on networks such as ABC, CBS, NBC, HBO, PBS, SHOWTIME, and TNT. 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. Restrictions on Access Open for research. STORED OFF-SITE AT SRLF. Advance notice is required for access to the caollection. 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. -
Copyright by Leah Michelle Ross 2012
Copyright by Leah Michelle Ross 2012 The Dissertation Committee for Leah Michelle Ross Certifies that this is the approved version of the following dissertation: A Rhetoric of Instrumentality: Documentary Film in the Landscape of Public Memory Committee: Katherine Arens, Supervisor Barry Brummett, Co-Supervisor Richard Cherwitz Dana Cloud Andrew Garrison A Rhetoric of Instrumentality: Documentary Film in the Landscape of Public Memory by Leah Michelle Ross, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December, 2012 Dedication For Chaim Silberstrom, who taught me to choose life. Acknowledgements This dissertation was conceived with insurmountable help from Dr. Katherine Arens, who has been my champion in both my academic work as well as in my personal growth and development for the last ten years. This kind of support and mentorship is rare and I can only hope to embody the same generosity when I am in the position to do so. I am forever indebted. Also to William Russell Hart, who taught me about strength in the process of recovery. I would also like to thank my dissertation committee members: Dr Barry Brummett for his patience through the years and maintaining a discipline of cool; Dr Dana Cloud for her inspiring and invaluable and tireless work on social justice issues, as well as her invaluable academic support in the early years of my graduate studies; Dr. Rick Cherwitz whose mentorship program provides practical skills and support to otherwise marginalized students is an invaluable contribution to the life of our university and world as a whole; Andrew Garrison for teaching me the craft I continue to practice and continuing to support me when I reach out with questions of my professional and creative goals; an inspiration in his ability to juggle filmmaking, teaching, and family and continued dedication to community based filmmaking programs. -
Dexter's Laboratory Ego Trip
Dexter's laboratory ego trip Continue Comments Share Paul Douglas (overseeing the film editor) Gennady Tartakovsky (supervisor producer) 64 minutes, 48 minutes ad-free by Hannah-Barbera/Warner Bros. Dexter Lab: Annie's Ego Trip award-winning one-hour animated television special spawned from the Cartoon Network animated series Dexter Lab, produced by Hannah-Barbera (now Cartoon Network Studios) The film's protagonist Dexter is going into the future to see his futuristic version of himself and his eternal rival Mandark to stop the latter from taking over the world. Ego Trip was originally intended to be the series finale for Dexter's lab, but due to mixed reception from critics and high-ratings viewers, the series was picked up for two more seasons with the first episode, Streaky Clean, airing November 16, 2001. Summary Robots from the Future come to destroy Dexter because he saved the future. Dexter defeats them and, upon hearing that he has saved the future, he goes into the future to find out what he has done. Plot After chasing his rival Mandark from his lab as he tries to steal his latest invention, Dexter asks his sister Dee Dee to leave the lab where she inadvertently enters a time machine stored at the entrance. Suddenly, Dexter encounters a group of red robots that have emerged from this time machine. They claim that they are here to destroy the one who saved the future and seem to be preparing to attack Dexter. Dexter easily destroys them with various tools and gadgets from his lab, as robots mysteriously do not attack at all. -
Documentarian
Documentarian Growing up in Birmingham, Alabama, in the 1970s and ’80s, Michele Forman ’93 loved visual art and reading. At Harvard, she chose a double concentration in visual and environmental studies and English, and felt particularly drawn to docu- mentary filmmaking, which “revolves around talk- ing to people and being curious about their lives.” As a senior, she took a screenwriting seminar from Spike Lee, who returned a draft with a “note in the margin that this could be a movie,” and offered her a summer internship. After graduation, she worked in script development for his company in Brook- lyn, looking for new projects to executive produce. In the late ’90s she was back in Birmingham for PHOTOGRAPH KENZIE BY GREER Lee’s documentary 4 Little Girls, about the 16th Street Forman and her Baptist Church bombing in 1963. Doing research and pre-interviews students filmed at the National for the film “changed the trajectory of my career,” she says. “I knew Memorial for Peace that I wanted to come back to Alabama and use film to explore the and Justice in often painful parts of our history so that we can figure out what Montgomery, kind of values and society we want in the present.” Alabama, for a project to raise Serendipitously, an anthropology professor at University of Ala- awareness about bama at Birmingham (UAB) approached her about setting up a the history of lynch- filmmaking program there. Through trial and error, interdepart- ing. At left, she advises during a mental collaboration, and community input, she has devised a cur- class at UAB. -
JM Weatherston
Northumbria Research Link Citation: Weatherston, Jack (2018) How the West has Warmed: Climate Change in the Contemporary Western. Doctoral thesis, Northumbria University. This version was downloaded from Northumbria Research Link: http://nrl.northumbria.ac.uk/id/eprint/39786/ Northumbria University has developed Northumbria Research Link (NRL) to enable users to access the University’s research output. Copyright © and moral rights for items on NRL are retained by the individual author(s) and/or other copyright owners. Single copies of full items can be reproduced, displayed or performed, and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided the authors, title and full bibliographic details are given, as well as a hyperlink and/or URL to the original metadata page. The content must not be changed in any way. Full items must not be sold commercially in any format or medium without formal permission of the copyright holder. The full policy is available online: http://nrl.northumbria.ac.uk/policies.html HOW THE WEST HAS WARMED: CLIMATE CHANGE IN THE CONTEMPORARY WESTERN J. M. WEATHERSTON PhD 2018 1 HOW THE WEST HAS WARMED: CLIMATE CHANGE IN THE CONTEMPORARY WESTERN JACK MICHAEL WEATHERSTON A thesis submitted in partial fulfilment of the requirements of the University of Northumbria at Newcastle for the degree of Doctor of Philosophy Research undertaken in the Faculty of Arts, Design & Social Sciences OCTOBER 2018 2 Abstract This thesis will argue that the contemporary Western, in literature and film, has shown a particular capacity to reflect the influence of climate change on the specific set of landscapes, ecosystems and communities that make up the American West.