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Albion Full Cast Announced
Press release: Thursday 2 January The Almeida Theatre announces the full cast for its revival of Mike Bartlett’s Albion, directed by Rupert Goold, following the play’s acclaimed run in 2017. ALBION by Mike Bartlett Direction: Rupert Goold; Design: Miriam Buether; Light: Neil Austin Sound: Gregory Clarke; Movement Director: Rebecca Frecknall Monday 3 February – Saturday 29 February 2020 Press night: Wednesday 5 February 7pm ★★★★★ “The play that Britain needs right now” The Telegraph This is our little piece of the world, and we’re allowed to do with it, exactly as we like. Yes? In the ruins of a garden in rural England. In a house which was once a home. A woman searches for seeds of hope. Following a sell-out run in 2017, Albion returns to the Almeida for four weeks only. Joining the previously announced Victoria Hamilton (awarded Best Actress at 2018 Critics’ Circle Awards for this role) and reprising their roles are Nigel Betts, Edyta Budnik, Wil Coban, Margot Leicester, Nicholas Rowe and Helen Schlesinger. They will be joined by Angel Coulby, Daisy Edgar-Jones, Dónal Finn and Geoffrey Freshwater. Mike Bartlett’s plays for the Almeida include his adaptation of Maxim Gorky’s Vassa, Game and the multi-award winning King Charles III (Olivier Award for Best New Play) which premiered at the Almeida before West End and Broadway transfers, a UK and international tour. His television adaptation of the play was broadcast on BBC Two in 2017. Other plays include Snowflake (Old Fire Station and Kiln Theatre); Wild; An Intervention; Bull (won the Olivier Award for Outstanding Achievement in an Affiliate Theatre); an adaptation of Medea; Chariots of Fire; 13; Decade (co-writer); Earthquakes in London; Love, Love, Love; Cock (Olivier Award for Outstanding Achievement in an Affiliate Theatre); Contractions and My Child Artefacts. -
Producers of Popular Science Web Videos – Between New Professionalism and Old Gender Issues
Producers of Popular Science Web Videos – Between New Professionalism and Old Gender Issues Jesús Muñoz Morcillo1*, Klemens Czurda*, Andrea Geipel**, Caroline Y. Robertson-von Trotha* ABSTRACT: This article provides an overview of the web video production context related to science communication, based on a quantitative analysis of 190 YouTube videos. The authors explore the main characteristics and ongoing strategies of producers, focusing on three topics: professionalism, producer’s gender and age profile, and community building. In the discussion, the authors compare the quantitative results with recently published qualitative research on producers of popular science web videos. This complementary approach gives further evidence on the main characteristics of most popular science communicators on YouTube, it shows a new type of professionalism that surpasses the hitherto existing distinction between User Generated Content (UGC) and Professional Generated Content (PGC), raises gender issues, and questions the participatory culture of science communicators on YouTube. Keywords: Producers of Popular Science Web Videos, Commodification of Science, Gender in Science Communication, Community Building, Professionalism on YouTube Introduction Not very long ago YouTube was introduced as a platform for sharing videos without commodity logic. However, shortly after Google acquired YouTube in 2006, the free exchange of videos gradually shifted to an attention economy ruled by manifold and omnipresent advertising (cf. Jenkins, 2009: 120). YouTube has meanwhile become part of our everyday experience, of our “being in the world” (Merleau Ponty) with all our senses, as an active and constitutive dimension of our understanding of life, knowledge, and communication. However, because of the increasing exploitation of private data, some critical voices have arisen arguing against the production and distribution of free content and warning of the negative consequences for content quality and privacy (e.g., Keen, 2007; Welzer, 2016). -
Mccready Dale Elena
McKinney Macartney Management Ltd DALE ELENA McCREADY NZCS - Director of Photography GRACE Director: John Alexander Producer: Kiaran Murray-Smith Starring: John Simm Tall Story Pictures / ITV TIN STAR (Series 3, Episodes 5 & 6) Director: Patrick Harkins Producer: Andy Morgan Starring: Tim Roth, Genevieve O’Reilly and Christina Hendricks Kudos Film and Television BELGRAVIA Director: John Alexander Producer: Colin Wratten Starring: Tamsin Greig, Philip Glenister and Alice Eve Carnival Film and Television BAGHDAD CENTRAL Director: Ben A. Williams Producer: Jonathan Curling Starring: Waleed Zuaiter, Corey Stoll and Bertie Carvel Euston Films TIN STAR (Series 2, Episodes 2, 5, 6 & 7) Directors: Gilles Bannier, Jim Loach and Chris Baugh. Producer: Liz Trubridge Starring: Tim Roth, Genevieve O’Reilly and Christina Hendricks Euston Films THE LAST KINGDOM (Series 3, Episodes 2 & 4) Director: Andy de Emmony Producers: Cáit Collins, Howard Ellis, Adam Goodman and Chrissy Skinns. Starring: Alexander Dreymon, Eliza Butterworth and Ian Hart. Carnival Film and Television THE SPLIT (Series 1) Director: Jessica Hobbs Producer: Lucy Dyke Starring: Nicola Walker, Stephen Mangan and Annabel Scholey. Sister Pictures Best TV Drama nomination – National Film Awards 2019 Gable House, 18 – 24 Turnham Green Terrace, London W4 1QP Tel: 020 8995 4747 E-mail: [email protected] www.mckinneymacartney.com VAT Reg. No: 685 1851 06 DALE ELENA McCREADY Contd ... 2 THE TUNNEL (Series 3, Episodes 1-2) Director: Anders Engstrom Producer: Toby Welch Starring: Clémence -
Narrativa Fílmica E Internet Desconstrução Fílmica E Interatividade
Escola das Artes da Universidade Católica Portuguesa Mestrado em Som e Imagem Narrativa Fílmica e Internet Desconstrução Fílmica e Interatividade Cinema e Audiovisual 2014/2015 Nuno Miguel Rodrigues Meneses Professor Orientador: Carlos Sena Caires Setembro de 2015 Narrativa Fílmica e Internet – Desconstrução Fílmica e Interatividade Dedicatória Aos meus pais que sempre me apoiaram e me deram todas as ferramentas para ser feliz. À minha irmã que desde que nasceu me critica e me faz ser melhor. A todos os meus amigos que me obrigaram a escrever em vez de ver filmes e jogar computador. I Narrativa Fílmica e Internet – Desconstrução Fílmica e Interatividade Agradecimentos O agradecimento maior vai para a minha família, que sempre me apoiou em todos os aspetos. Aperceber-se que se tem um filho que quer ser artista não deve ser fácil, mas eles fizeram-no como se o fosse. À minha família devo tudo. Desde às despesas que causei às emoções que sentimos. Um muito obrigado a todos, em especial à mãe, pai e irmã. Não posso também deixar de agradecer ao professor Carlos Sena Caires que me conduziu na investigação e me fez perceber que a melhor maneira de começar é fazer. Agradeço ainda a todos os outros que estiveram direta ou indiretamente envolvidos nesta dissertação, ou que contribuíram para o seu sucesso. II Narrativa Fílmica e Internet – Desconstrução Fílmica e Interatividade Resumo Nos últimos anos o Cinema tem sofrido inúmeras alterações e evoluções. Quer através do seu desenvolvimento tecnológico, quer através da perceção e interpretação do público das histórias contadas. A tecnologia evolui, assim como a sensibilidade e compreensão artística das plateias. -
Looking At, Through, and with Youtube Paul A
Santa Clara University Scholar Commons Communication College of Arts & Sciences 2014 Looking at, through, and with YouTube Paul A. Soukup Santa Clara University, [email protected] Follow this and additional works at: https://scholarcommons.scu.edu/comm Part of the Communication Commons Recommended Citation Soukup, Paul A. (2014). Looking at, through, and with YouTube. Communication Research Trends, 33(3), 3-34. CRT allows the authors to retain copyright. This Article is brought to you for free and open access by the College of Arts & Sciences at Scholar Commons. It has been accepted for inclusion in Communication by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Looking at, with, and through YouTube™ Paul A. Soukup, S.J. [email protected] 1. Looking at YouTube Begun in 2004, YouTube rapidly grew as a digi- history and a simple explanation of how the platform tal video site achieving 98.8 million viewers in the works.) YouTube was not the first attempt to manage United States watching 5.3 billion videos by early 2009 online video. One of the first, shareyourworld.com (Jarboe, 2009, p. xxii). Within a year of its founding, begin 1997, but failed, probably due to immature tech- Google purchased the platform. Succeeding far beyond nology (Woog, 2009, pp. 9–10). In 2000 Singingfish what and where other video sharing sites had attempt- appeared as a public site acquired by Thompson ed, YouTube soon held a dominant position as a Web Multimedia. Further acquired by AOL in 2003, it even- 2.0 anchor (Jarboe, 2009, pp. -
Mark Summers Sunblock Sunburst Sundance
Key - $ = US Number One (1959-date), ✮ UK Million Seller, ➜ Still in Top 75 at this time. A line in red Total Hits : 1 Total Weeks : 11 indicates a Number 1, a line in blue indicate a Top 10 hit. SUNFREAKZ Belgian male producer (Tim Janssens) MARK SUMMERS 28 Jul 07 Counting Down The Days (Sunfreakz featuring Andrea Britton) 37 3 British male producer and record label executive. Formerly half of JT Playaz, he also had a hit a Souvlaki and recorded under numerous other pseudonyms Total Hits : 1 Total Weeks : 3 26 Jan 91 Summers Magic 27 6 SUNKIDS FEATURING CHANCE 15 Feb 97 Inferno (Souvlaki) 24 3 13 Nov 99 Rescue Me 50 2 08 Aug 98 My Time (Souvlaki) 63 1 Total Hits : 1 Total Weeks : 2 Total Hits : 3 Total Weeks : 10 SUNNY SUNBLOCK 30 Mar 74 Doctor's Orders 7 10 21 Jan 06 I'll Be Ready 4 11 Total Hits : 1 Total Weeks : 10 20 May 06 The First Time (Sunblock featuring Robin Beck) 9 9 28 Apr 07 Baby Baby (Sunblock featuring Sandy) 16 6 SUNSCREEM Total Hits : 3 Total Weeks : 26 29 Feb 92 Pressure 60 2 18 Jul 92 Love U More 23 6 SUNBURST See Matt Darey 17 Oct 92 Perfect Motion 18 5 09 Jan 93 Broken English 13 5 SUNDANCE 27 Mar 93 Pressure US 19 5 08 Nov 97 Sundance 33 2 A remake of "Pressure" 10 Jan 98 Welcome To The Future (Shimmon & Woolfson) 69 1 02 Sep 95 When 47 2 03 Oct 98 Sundance '98 37 2 18 Nov 95 Exodus 40 2 27 Feb 99 The Living Dream 56 1 20 Jan 96 White Skies 25 3 05 Feb 00 Won't Let This Feeling Go 40 2 23 Mar 96 Secrets 36 2 Total Hits : 5 Total Weeks : 8 06 Sep 97 Catch Me (I'm Falling) 55 1 20 Oct 01 Pleaase Save Me (Sunscreem -
Think Gaming Content Is Niche? Think Again
THINK GAMING CONTENT IS NICHE? THINK AGAIN WRITTEN BY Gautam Ramdurai THE RUNDOWN PUBLISHED December 2014 Gaming has woven its way into all areas of pop culture—sports, music, television, and more. Its appeal goes far beyond teenage boys (women are now the largest video game–playing demographic!). So it’s no surprise that gaming content has taken off on YouTube. Why? As one gaming creator put it, “You don’t have to play soccer to enjoy it on TV.” From an advertiser’s perspective, gaming content is a rare breed—one that delivers engagement and reach. Even if your brand isn’t part of the gaming industry, you can get in on the action. Gautam Ramdurai, Insights Lead, Pop Culture & Gaming at Google, explains how. Take a broad look at pop culture, and you’ll see that “gaming” is tightly woven into its fabric. It’s everywhere—in music, television, movies, sports, and even your favorite cooking shows. And as gaming content takes off on YouTube, gaming is becoming not only something people do but also something they watch. A generation (18–34-year-old millennials) has grown up on gaming. For them, having a gaming console was as ordinary as having a TV. They can probably still recall blowing into game cartridges and wondering if it made a difference. And if they grew up on gaming, they came of age in the YouTube era. Many now consider it the best platform to explore their passions. (Platforms surveyed include AOL, ComedyCentral.com, ESPN.com, Facebook, Hulu, Instagram, MTV.com, Tumblr, Vimeo, and YouTube.) This convergence has resulted in an abundance of gaming content, and brands interested in connecting with this interested and engaged audience should take note. -
Youtube Brandcast [2012-Present]
goodsense.nyc CREATIVE & PRODUCTION SERVICES makes good sense. We love to create and execute events. We're all about big ideas, and creative collaboration. We create events that tell stories, market brands, position new products, and resonate with target audiences. GOOD SENSE & COMPANY is a creative and production agency that designs and manages live events for some We’re a full-service agency that provides whatever kind of service our of the biggest corporate and nonprofit entities in the clients need, from simple AV for a single event to a full-scale, world. multi-million dollar production. From the start, we've been tasked with large-scale, visionary projects, and we refined our craft, working on high-stakes, high-profile events: award shows, A-list concerts and GOOD SENSE & COMPANY is founded on the multi-venue festivals. complementary partnership of Jared Siegel and Joshua Cicerone. The company model is based on their own We love design that has meaning and purpose. We approach each archetypal dynamic: diplomat and agitator, dreamer and project as an exploration into the goals and aesthetics of the technician. For over a decade they have produced live company, brand, or product in need. We love new technology and events together, leading a team of talented individuals bring it in when and where it makes sense within a design. Our core that love to put on a good show. philosophy is focused on making our clients look good. We take one-off projects but where we truly thrive is in our long-term relationships. Regardless of project scope, we support all our clients with the same level of creativity, attention, and thought. -
Clooney Slams Lack of Support for Sony
36 MONDAY, DECEMBER 22, 2014 LIFESTYLE Gossip Andy Serkis’ Keaton wants to give money to fans latex ‘horror’ ichael Keaton wants to give money to his fans. The M‘Beetlejuice’ actor thinks it is “amazing” he has forged a career as an actor and feels obliged to hand out money to ndy Serkis is so glad he didn’t have to wear a latex mask to portray Caesar in the his fans to thank them for their support. He said: “It’s kind of amaz- A‘Planet of the Apes’ franchise. The 50-year-old actor used motion-capture technology ing that people are sticking by me. When they come up to me in the to play the part in ‘Rise of the Planet of the Apes’ and this year’s follow-up ‘Dawn of street, I just want to write them cheques.” The 63-year-old star - who the Planet of the Apes’ but insists it would’ve filled him with “horror” if he had to wear simi- is also known for starring in the 1989 ‘Batman’ movie as well as the lar costumes to the stars of the 1968 original ‘Planet of the Apes’ film. He said: “When you 1992 sequel ‘Batman Returns’ - also admitted he is relieved and think back to the originals I remember reading interviews with Roddy McDowall and Kim pleased people have continued to support him throughout his act- Hunter talking about the necessity to keep their faces moving so they could get facial ing life, despite making mistakes. He continued: “I’m just shocked expressions through the latex masks that they were wearing covering their faces - and they and thankful that I’ve gotten away with everything - experimenting still did an amazing job. -
Youtube Money: the Mpi Act of Brand Management on Online Video Companies Samantha Perry Rollins College, [email protected]
Rollins College Rollins Scholarship Online Honors Program Theses Spring 2016 YouTube Money: The mpI act of Brand Management on Online Video Companies Samantha Perry Rollins College, [email protected] Follow this and additional works at: http://scholarship.rollins.edu/honors Part of the Business Administration, Management, and Operations Commons, E-Commerce Commons, and the Entrepreneurial and Small Business Operations Commons Recommended Citation Perry, Samantha, "YouTube Money: The mpI act of Brand Management on Online Video Companies" (2016). Honors Program Theses. Paper 32. This Open Access is brought to you for free and open access by Rollins Scholarship Online. It has been accepted for inclusion in Honors Program Theses by an authorized administrator of Rollins Scholarship Online. For more information, please contact [email protected]. YouTube Money: The Impact of Brand Management on Online Video Companies Samantha Perry ___________________ ___________________ A Senior Honors Thesis Presented to the Faculty of the Department of International Business and Honors Degree Program In Partial Fulfillment of the Requirements for the Degree Artium Baccalaureus Honoris ____________________ April 2016 Faculty Sponsor: Emmanuel Kodzi ____________________ Rollins College Winter Park, FL ii Abstract Many YouTube channels today operate not only as miniature media outlets, but as fully functional media companies operating independently through advertising revenue. The top creators of content on YouTube bring in millions of dollars of revenue each year. This thesis seeks to answer the question of how content creators can harness the power of brand management strategy in order to maximize revenue and grow their audiences over time. I overview current trends among content creators industry-wide, and then focus on a group of channels to analyze their brand management habits on- and off-line. -
“In a Land of Myth and a Time of Magic”: the Role and Adaptability of the Arthurian Tradition in the Twentieth and Twenty-First Centuries Sarah Wente St
St. Catherine University SOPHIA Antonian Scholars Honors Program School of Humanities, Arts and Sciences 4-2013 “In a Land of Myth and a Time of Magic”: The Role and Adaptability of the Arthurian Tradition in the Twentieth and Twenty-First Centuries Sarah Wente St. Catherine University, [email protected] Follow this and additional works at: https://sophia.stkate.edu/shas_honors Part of the English Language and Literature Commons Recommended Citation Wente, Sarah, "“In a Land of Myth and a Time of Magic”: The Role and Adaptability of the Arthurian Tradition in the Twentieth and Twenty-First Centuries" (2013). Antonian Scholars Honors Program. 29. https://sophia.stkate.edu/shas_honors/29 This Senior Honors Project is brought to you for free and open access by the School of Humanities, Arts and Sciences at SOPHIA. It has been accepted for inclusion in Antonian Scholars Honors Program by an authorized administrator of SOPHIA. For more information, please contact [email protected]. “In a Land of Myth and a Time of Magic” The Role and Adaptability of the Arthurian Tradition in the Twentieth and Twenty-First Centuries By Sarah Wente A Senior Project in Partial Fulfillment of the Requirements of the Honors Program ST. CATHERINE UNIVERSITY April 2, 2013 Acknowledgements The following thesis is the result of many months of reading, writing, and thinking, and I would like to express the sincerest gratitude to all who have contributed to its completion: my project advisor, Professor Cecilia Konchar Farr – for her enduring support and advice, her steadfast belief in my intelligence, and multiple gifts of chocolate and her time; my project committee members, Professors Emily West, Brian Fogarty, and Jenny McDougal – for their intellectual prodding, valuable feedback, and support at every stage; Professor Amy Hamlin – for her assistance in citing the images used herein; and my friends, Carly Fischbeck, Rachel Armstrong, Megan Bauer, Tréza Rosado, and Lydia Fasteland – for their constant encouragement and support and for reading multiple drafts along the way. -
New Menu to Change
Bangor University Students’ Union Bar Uno Special English Language Issue No. 225 Newspaper FREE @SerenBangor Seren.Bangor.ac.uk The LittleSEREN Big Uno Card Operation Freshers Begins OPERATION FRESHERS 2012 SATURDAY SUNDAY MONDAY TUESDAY 22/09/12 23/09/12 24/09/12 THE FREE “BUDGIE ‘OHO AHA’ BBBBBQ! BRAIN” PIRATES BE LOL BRUNO’S BIG BRAIN MELTING THE BIG MEET UP! BEASTLY BBQ PUB QUIZ SAILIN! BAR UNO FROM 7PM FROM 5PM FROM 7PM BUDGIES OMG OMG Welcome Weekend Welcome Weekend BUDGIE- ACADEMI Party PART I Party PART II LYMPICS BREAKING9PM - LATE NEWS9PM - LATE 9PM - 3AM FRIDAY SATURDAY SUNDAY MONDAY 28/09/12 29/09/12 30/09/12 SUNDAY SOOTHER: “BUDGIE SQUIDS SCRUFFS BRAIN” LOL VEGAS BRAIN SPLODIN INN COCKTAILS! CASINO NIGHT PUB QUIZ BAR UNO FROM 7PM FROM 7PM FROM 7PM VS. VERSUS WIN A FREE OMG DINNER FRESHERS VS FOR A TERM ACADEMI RETURNERS NEON NIGHTS AT OUR 10PM - 3AM 9PM - 3AM CASINO THURSDAY FRIDAY SATURDAY SUNDAY 04/10/12 05/10/12 06/10/12 UNO LIVE: SUNDAY SOOTHER: “GET DRUMMIN” SQUIDS FILM UNO & “COME DINE” LOL FILM NIGHT INTERNATIONAL INN COCKTAILS! POPCORN & PYJAMAS BAR UNO FROM 7PM FROM 7PM FROM 7PM DON’T STAY IN, VS. VERSUS OMG GET OUT CHOOSE YOUR ACADEMI THERE AND CHALLENGERS WIN BIG BAR TRY IT ALL 9PM - LATE 10PM - 3AM UNO NEW MENU TO CHANGE by BARBARA YOUKNOW the inside scoop on the re-launch event. gor, and possibly the universe, obsolete. stampede would have caused casualties. Jo King, was the rst to sample EVERYTHING e line began outside the polished Known as a place where Bangor Uni- A lot of thought U-NO! had been put into “ e Burger To End All Burgers”, but opular Bangor eatery, Bar UNO, glass doors of UNO and ended inside versity students are able to sit down, the event by the organisers and each ta- sadly she was unavailable for immedi- today unveiled their new menu.