Critical Studies in Television 2021 Slow Conference Programme
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Exploring Informal and Colloquial Language Through Netflix's Derry Girls
Exploring informal and colloquial language through Netflix’s Derry Girls. Bàrbara Pilar Serra Ballester Master’s Thesis Master’s Degree in Teacher Training (With a speciality in English and German) at the UNIVERSITAT DE LES ILLES BALEARS Academic year 2018-2019 Date: June 2019 UIB Master’s Thesis Supervisor: Dra. Yolanda Joy Calvo Benzies Abstract The presence of colloquial and informal language is rather neglected in today’s EFL classrooms. The following study aims to demonstrate that this vocabulary, part of a genuine, real-world English, can be incorporated into the lesson in a unique way; by using authentic audio-visual materials like television sitcoms. For this dissertation, several fields have been explored in depth, such as the value of those genuine products as a teaching tool, that goes hand in hand with students’ motivation, the relevance of the cultural competence and further aspects like the purpose of working with informal and colloquial word-forms, the irrefutable role of captions and an analysis of the incidental vocabulary acquisition phenomenon in the language learning experience. Moreover, this MA dissertation includes an empirical study conducted with 4th of ESO students which aimed at analysing whether using the Northern Irish TV show Derry Girls is a beneficial tool to gain new vocabulary like idioms and phrasal verbs. The results obtained indicate that students were more motivated when learning English this way; moreover, it in fact helped most of them learn new vocabulary. Keywords: informal language, colloquial language, EFL, TV sitcom, Derry Girls. 2 Table of Contents Abstract ............................................................................................................. 2 1. Introduction ................................................................................................. 4 2. Literature review ........................................................................................ -
Breaking Bad and Cinematic Television
temp Breaking Bad and Cinematic Television ANGELO RESTIVO Breaking Bad and Cinematic Television A production of the Console- ing Passions book series Edited by Lynn Spigel Breaking Bad and Cinematic Television ANGELO RESTIVO DUKE UNIVERSITY PRESS Durham and London 2019 © 2019 Duke University Press All rights reserved Printed in the United States of America on acid- free paper ∞ Typeset in Warnock and News Gothic by Tseng Information Systems, Inc. Library of Congress Cataloging-in-Publication Data Names: Restivo, Angelo, [date] author. Title: Breaking bad and cinematic television / Angelo Restivo. Description: Durham : Duke University Press, 2019. | Series: Spin offs : a production of the Console-ing Passions book series | Includes bibliographical references and index. Identifiers: LCCN 2018033898 (print) LCCN 2018043471 (ebook) ISBN 9781478003441 (ebook) ISBN 9781478001935 (hardcover : alk. paper) ISBN 9781478003083 (pbk. : alk. paper) Subjects: LCSH: Breaking bad (Television program : 2008–2013) | Television series— Social aspects—United States. | Television series—United States—History and criticism. | Popular culture—United States—History—21st century. Classification: LCC PN1992.77.B74 (ebook) | LCC PN1992.77.B74 R47 2019 (print) | DDC 791.45/72—dc23 LC record available at https: // lccn.loc.gov/2018033898 Cover art: Breaking Bad, episode 103 (2008). Duke University Press gratefully acknowledges the support of Georgia State University’s College of the Arts, School of Film, Media, and Theatre, and Creative Media Industries Institute, which provided funds toward the publication of this book. Not to mention that most terrible drug—ourselves— which we take in solitude. —WALTER BENJAMIN Contents note to the reader ix acknowledgments xi Introduction 1 1 The Cinematic 25 2 The House 54 3 The Puzzle 81 4 Just Gaming 116 5 Immanence: A Life 137 notes 159 bibliography 171 index 179 Note to the Reader While this is an academic study, I have tried to write the book in such a way that it will be accessible to the generally educated reader. -
Television Content Quality and Engagement
GONZÁLEZ, M., RONCALLO-DOW, S., ARANGO-FORERO, G. Y URIBE-JONGBLOED, E. Television content quality and engagement CUADERNOS.INFO Nº 37 ISSN 0719-3661 Versión electrónica: ISSN 0719-367x http://www.cuadernos.info doi: 10.7764/cdi.37.812 Received: 08-06-2015 / Accepted: 11-04-2015 Television content quality and engagement: Analysis of a private channel in Colombia1 Calidad en contenidos televisivos y engagement: Análisis de un canal privado en Colombia Qualidade de conteúdos televisivos e engagement: Análise de um canal privado na Colômbia MANUEL IGNACIO GONZÁLEZ BERNAL2, Facultad de Comunicación, Universidad de La Sabana. Chía, Colombia [[email protected]] SERGIO RONCALLO-DOW, Facultad de Comunicación, Universidad de La Sabana. Chía, Colombia [[email protected]] GERMÁN ARANGO-FORERO, Facultad de Comunicación, Universidad de La Sabana. Chía, Colombia [[email protected]] ENRIQUE URIBE-JONGBLOED, Departamento de Comunicación Social, Universidad del Norte. Barranquilla, Colombia [[email protected]] ABSTRACT RESUMEN RESUMO This paper presents the results of a Este artículo expone los resultados de Este artigo expõe os resultados de content analysis and an inquiry into un proyecto de investigación enfocado en um projeto de pesquisa enfocado em Colombian audiences regarding the comprender los elementos que intervienen compreender os elementos que intervêm concept of ‘quality television’ and its en la generación de engagement por parte na geração de engagement por parte effect upon engagement. The results de los televidentes colombianos y el aporte dos telespectadores colombianos e a show that for the sampled audience del concepto de ‘calidad televisiva’ a ese contribuição do conceito de ‘qualidade the most relevant elements in terms of proceso. -
Trivago and Derry Girls
BLOG Trivago and Derry Girls EDINBURGH PARTNERSHIP TELEVISION NICOLA CLARK - MARKETING COORDINATOR 12 MAR 2019 Trivago, the hotel search comparison specialist, is currently sponsoring Channel 4’s hit coming-of-age comedy, Derry Girls, for its second series. Created and written by Lisa McGee, Derry Girls candidly follows the lives of five teenagers as they navigate life in Derry during The Troubles. Series one of Derry Girls was the most watched series in Northern Ireland since modern records began in 2002 and won both Best Comedy and Best Writer at the 2018 IFTA Gala Television Awards as well as the 2018 Radio Times Comedy Champion award. Across the UK, consolidated viewing figures revealed that the first series was watched by an average on 2.5 million viewers making it Channel 4’s biggest comedy launch since 2004. Negotiated by MediaCom Edinburgh, Trivago features sponsorship bumpers throughout the show. They also feature on all the on-air promos as well as on All4. New creative has been developed for the partnership which features a Northern Irish voiceover to link it to the programme. Maud Cant, Head of AV at MediaCom Edinburgh, said “Derry Girls has been one of the best performing programmes against 16-34adults on its first series last year, so it was a great opportunity for us to help Trivago reach the younger end of their target audience. After a lot of back and forth we managed to get a deal agreed and we are delighted that Trivago made sure they are maximising the partnership with the creation of new bumpers”. -
Radio 4 Listings for 29 February – 6 March 2020 Page 1 of 14
Radio 4 Listings for 29 February – 6 March 2020 Page 1 of 14 SATURDAY 29 FEBRUARY 2020 Series 41 SAT 10:30 The Patch (m000fwj9) Torry, Aberdeen SAT 00:00 Midnight News (m000fq5n) The Wilberforce Way with Inderjit Bhogal National and international news from BBC Radio 4 The random postcode takes us to an extraordinary pet shop Clare Balding walks with Sikh-turned-Methodist, Inderjit where something terrible has been happening to customers. Bhogal, along part of the Wilberforce Way in East Yorkshire. SAT 00:30 The Crying Book, by Heather Christle Inderjit created this long distance walking route to honour Torry is a deprived area of Aberdeen, known for addiction (m000fq5q) Wilberforce who led the campaign against the slave trade. They issues. It's also full of dog owners. In the local pet shop we Episode 5 start at Pocklington School, where Wilberforce studied, and discover Anna who says that a number of her customers have ramble canal-side to Melbourne Ings. Inderjit Bhogal has an died recently from a fake prescription drug. We wait for her Shedding tears is a universal human experience, but why and extraordinary personal story: Born in Kenya he and his family most regular customer, Stuart, to help us get to the bottom of it how do we cry? fled, via Tanzania, to Dudley in the West Midlands in the early - but where is he? 1960s. He couldn’t find anywhere to practice his Sikh faith so American poet Heather Christle has lost a dear friend to suicide started attending his local Methodist chapel where he became Producer/presenter: Polly Weston and must now reckon with her own depression. -
Netflix and the Development of the Internet Television Network
Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation. -
The Choices We Made EDUCATORS’ GUIDE the Choices We Made Bystanding and Conflict in Northern Ireland
Bystanding and conflict in NorthernBystanding Ireland made we the choices EDUCATORS’ GUIDE the choices we made Bystanding and conflict in Northern Ireland Educators’ Guide 1 About the Corrymeela Community Corrymeela believes that together is better. We work to build relationships of trust and understanding between people, communities and structures of power in order to promote reconciliation in Northern Ireland and beyond. Our mission is to ‘Transform Division through Human Encounter’. We structure our programmes around four themes: tackling marginalisation; transforming sectarianism; developing inclusive public theology; and learning from the legacies of conflict. Much of our work is undertaken at our residential centre which seeks to be a shared, safe and diverse space, in the context of a segregated Northern Ireland and an increasingly divided world. We also work at community-level in partnership with schools, community groups, faith institutions and statutory bodies. www.corrymeela.org About Facing History and Ourselves Facing History and Ourselves is a global educational and professional development organisation. We work with educators and representatives of civil society organisations in over 110 countries and maintain partnerships around the world. Facing History and Ourselves equips educators and youth with skills that allow them to wrestle with today’s difficult issues through the lessons of history. We provide content, a range of teaching strategies, and face to face and online support. We are creating generations of engaged, -
Wandavision Succession I Hate Suzie Staged Normal People Small
T he Including WandaVision best shows Succession I Hate Suzie streaming Staged Normal People right now Small Axe Fantastic shows at your fingertips THERE HAS NEVER been a better time to find your new favourite show, with more content available at the press of a button or the swipe of a screen than ever before. Traditional broadcasters continue to add more shows to their catch-up services every day, while a raft of new subscription streaming services has flooded the TV market, bringing us a wealth of gripping dramas, out-of-this-world sci-fi, insightful docs and exciting entertainment formats. But with such a vast choice available, it can sometimes feel overwhelming. But never fear, our expert editors have done the hard work for you, selecting 50 of the very best shows designed to suit every taste that you can watch right now. Contributors So sit back, stop scrolling and start Eleanor Bley Tim Glanfield Griffiths Grace Henry watching great TV… Flora Carr Morgan Jeffery David Craig Lauren Morris Patrick Cremona Michael Potts Tim Glanfield Helen Daly Minnie Wright Huw Fullerton Editorial Director RadioTimes.com The Last Kingdom FOR HALF A decade fans have Dreymon gives an electric been gripped by The Last Kingdom, performance in the lead role an epic historical drama that and the series is at its strongest follows noble warrior Uhtred of when his fierce fighter shares the Bebbanburg in the dangerous years screen with David Dawson’s pious prior to the formation of England. King Alfred (later to be known as Based on the novels by Bernard “the Great”). -
Catherine Johnson
Catherine Johnson TELE-BRANDING IN TVIII The network as brand and the programme as brand In the era of TVIII, characterised by deregulation, multimedia conglomeration, expansion and increased competition, branding has emerged as a central industrial practice. Focusing on the case of HBO, a particularly successful brand in TVIII, this paper argues that branding can be understood not simply as a feature of television networks, but also as a characteristic of television programmes. It begins by examining how the network as brand is constructed and conveyed to the consumer through the use of logos, slogans and programmes. The role of programmes in the construction of brand identity is then complicated by examining the sale of programmes abroad, where programmes can be seen to contribute to the brand identity of more than one network. The paper then goes on to examine programme merchandising, an increasingly central strategy in TVIII. Through an analysis of different merchandising strategies the paper argues that programmes have come to act as brands in their own right, and demonstrates that the academic study of branding not only reveals the development of new industrial practices, but also offers a way of understanding the television programme and its consumption by viewers in a period when the texts of television are increasingly extended across a range of media platforms. TVIII, at least at this juncture, must be considered the age of brand marketing. (Rogers et al. 2002, p. 48) ‘Branding’ has emerged as a central concern of the television industry in the age of digital convergence. (Caldwell 2004, p. 305) New Review of Film and Television Studies Vol. -
BBC One's the Pale Horse Begins Sunday 9Th February After Filming At
BBC One’s The Pale Horse begins Sunday 9th February after filming at The Bottle Yard Studios and on location in Bristol & surrounding region Watch cast interviews recorded on set at The Bottle Yard and on location at Ashton Court, Arnos Cemetery & Sheldon Manor BRISTOL, 6 February 2020: Brand new Agatha Christie thriller The Pale Horse begins on BBC One on Sunday night, after filming at The Bottle Yard Studios and on location in Bristol and the surrounding region. (Left) Rufus Sewell stars in The Pale Horse. (Right) Rufus Sewell & Henry Lloyd Hughes on set at The Bottle Yard Studios. Images courtesy Mammoth Screen / Agatha Christie Ltd / BBC Starring Rufus Sewell, Kaya Scoledario, the two part-part drama produced by Mammoth Screen and Agatha Christie Limited for BBC One is adapted by Sarah Phelps (The ABC Murders, Ordeal By Innocence) from the 1961 Agatha Christie novel of the same name. It filmed between July to September last year on set at The Bottle Yard Studios and on location in Bristol with support from Bristol Film Office. A major Chelsea apartment set was built at the Studios where a large proportion of filming took place, whilst the six week shoot also used a host of Bristol locations. (Left) Filming in Clifton Bristol. Image courtesy Tony Stiles (Right) Rufus Sewell filming on location (image courtesy Mammoth Screen / Agatha Christie Ltd / BBC) Ashton Court Estate and Arnos Cemetery feature prominently, whilst a host of Bristol’s central streets also create the backdrop of 1960’s London. Frogmore Street and Cave Street double as the East End, Denmark Street stands in for the Soho district, properties overlooking St Nicholas market were brought to life as period police station interiors, Queen’s Square doubles as a Chelsea apartment block and Clifton Village’s picturesque West Mall doubles as the Capital’s iconic King’s Road. -
Quality TV As Liberal TV
Michael z. Newman and other cultural productions similarly blessed with prestige. Quality TV as Liberal TV This essay will sketch a historical outline of this tradition of Quality TV as libera l TV, ident ifying its sources and examining its Alongside so many changes in American television over its years as. expressions of an ideology. a mass medium there have also been continuit ies. These are easily) In doing so I am choosing a handful of examples of emblematic obscured by the presentist "Golden Age" rhetoric of popular critics or influential texts over this timespan rather than canvassing in the early twenty -first century.1One such continuity, spanning ; all of the telev isual representations one might associate with several aesthetic and industrial eras, is a trad ition of quality in, liberalism. There will necessarily be a provisional character scripted prime-time series, which is intertwined with a tradition to my discussion, as the topic is big enough for a much longer of liberal politics in elite urban American culture. 2 More than work. Numerpus details remain to be filled in, but I hope that the thirty years ago, Jane Feuer argued that "quality TV is liberal TV."3 connections will at least seem apposite, and the liberalism of She was talking about programs like The Mary Tyler Moore Show . American Quality TV worthy of further critical elaboration. and WKRPin Cincinnati, and using "quality" not simply to judge > Unlike more established, older art forms, televis ion has relative value but to mark off a group of programs recognizable struggled to be accepted as legitimate culture worth discussing by producers and audiences alike as having prestige.4 If Quality in aesthetic terms in the first place. -
Teaching HBO's the Wire July 2011
Teaching HBO’s The Wire July 2011 Teaching HBO’s The Wire Dr. Andrew Moore, St. Thomas University Author’s Contact Information Dr. Andrew Moore Assistant Professor Great Books Programme St. Thomas University, Fredericton, NB, E3B-5G3 Phone: (506) 292-5007 email: [email protected] Abstract: My intention in this paper is to address some of the challenges and advantages of incorporating television programming into a traditional liberal arts course, drawing upon my own experience teaching the third season of HBO’s crime drama The Wire. First appearing on HBO in 2002, The Wire’s incisive and expansive analysis of contemporary urban communities has increasingly made it a subject of scholarly interest. My argument here is that the series is culturally significant and potentially useful in a wide variety of courses on diverse subjects. However, there are problems with teaching television at the university level, such as limited class time, and students unaccustomed to critically engaging with the medium. I describe how my class addressed those challenges, and suggest ways other teachers might overcome them when teaching The Wire or any other television program. Also, citing student reactions to The Wire from our course blog, I outline the key lessons our class was able to derive from the series. Their comments suggest the wide array of pedagogical possibilities for HBO’s critically acclaimed crime drama, and for television more generally. Key Words: The Wire, crime drama, teaching television, student blog, justice, urban studies. Introduction There is no convenient way to use television programs in university classrooms. Our timetables are built around the notion that we are using print medium and or lecture.