Santa's Grotto
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Rte Guide Tv Listings Ten
Rte guide tv listings ten Continue For the radio station RTS, watch Radio RTS 1. RTE1 redirects here. For sister service channel, see Irish television station This article needs additional quotes to check. Please help improve this article by adding quotes to reliable sources. Non-sources of materials can be challenged and removed. Найти источники: РТЗ Один - новости газеты книги ученый JSTOR (March 2020) (Learn how and when to remove this template message) RTÉ One / RTÉ a hAonCountryIrelandBroadcast areaIreland & Northern IrelandWorldwide (online)SloganFuel Your Imagination Stay at home (during the Covid 19 pandemic)HeadquartersDonnybrook, DublinProgrammingLanguage(s)EnglishIrishIrish Sign LanguagePicture format1080i 16:9 (HDTV) (2013–) 576i 16:9 (SDTV) (2005–) 576i 4:3 (SDTV) (1961–2005)Timeshift serviceRTÉ One +1OwnershipOwnerRaidió Teilifís ÉireannKey peopleGeorge Dixon(Channel Controller)Sister channelsRTÉ2RTÉ News NowRTÉjrTRTÉHistoryLaunched31 December 1961Former namesTelefís Éireann (1961–1966) RTÉ (1966–1978) RTÉ 1 (1978–1995)LinksWebsitewww.rte.ie/tv/rteone.htmlAvailabilityTerrestrialSaorviewChannel 1 (HD)Channel 11 (+1)Freeview (Northern Ireland only)Channel 52CableVirgin Media IrelandChannel 101Channel 107 (+1)Channel 135 (HD)Virgin Media UK (Northern Ireland only)Channel 875SatelliteSaorsatChannel 1 (HD)Channel 11 (+1)Sky IrelandChannel 101 (SD/HD)Channel 201 (+1)Channel 801 (SD)Sky UK (Northern Ireland only)Channel 161IPTVEir TVChannel 101Channel 107 (+1)Channel 115 (HD)Streaming mediaVirgin TV AnywhereWatch liveAer TVWatch live (Ireland only)RTÉ PlayerWatch live (Ireland Only / Worldwide - depending on rights) RT'One (Irish : RTH hAon) is the main television channel of the Irish state broadcaster, Raidi'teilif's Siranne (RTW), and it is the most popular and most popular television channel in Ireland. It was launched as Telefes Siranne on December 31, 1961, it was renamed RTH in 1966, and it was renamed RTS 1 after the launch of RTW 2 in 1978. -
Brave Lions Two Alternate Views Hickie & Horgan Fashion - Page 16 Exclusive Interview Rud’S World - Page 22 Sport - Page 26
ISSUE 2 / VOLUME 19 4.10.05 METROSEXUALS BRAVE LIONS TWO ALTERNATE VIEWS HICKIE & HORGAN FASHION - PAGE 16 EXCLUSIVE INTERVIEW RUD’S WORLD - PAGE 22 SPORT - PAGE 26 gone.” Irish Students Destroy J1 Flat JACK CANE The College Tribune has not received any infor- “A PLACE TO CRASH mation as to whether the sub-leasers of the other AND PARTY, THAT’S IT, Some of the destruction caused There are no criminal proceedings in motion on apartments will be paying for damages incurred. WHO CARES ABOUT IT?” by former UCD students either side of the Atlantic. When a number of them were contacted, the stu- Maher’s hope that “the students involved will have dents alleged to have been involved declined to com- “This happens all the time.” These are Irish students are being held responsible some moral feelings to pay up what they owe” ment. the words of UCD Student Advisor Ronan Murphy, a former employee of UC Santa for approximately US$15,000 worth of appears to have had some success. However, the destruction of the Isla Vista apart- Barbara. damages to three apartments in Santa In an email sent to the College Tribune, Maher ments has already had a negative effect on the rep- Barbara, California. Former UCD students reported that the tenants of apartment #8 have paid According to Murphy, the latest reports were involved in the devastation of the utation of Irish students in Santa Barbara. of destruction of three apartments by Irish US$1,800 towards the damages in that residence. Katie Maher confirmed “if BDC do take Irish stu- three apartments. -
Irish Travellers, the Cinema and (Anti-)Traveller Racism
GRUNERT FILM JOURNAL 1 (2010) Between discrimination and glorification: Irish Travellers, the cinema and (anti-)Traveller racism Andrea GRUNERT University of Applied Sciences, Bochum, Germany “There’s a bit of a Traveller in everybody of us,” says John Riley, the male protagonist in Mike Newell’s Into the West (UK/IRL, 1992), to his twelve-year-old son Tito, who has asked him whether the Travellers are Cowboys or Indians. This evasive answer is matched by the film’s happy ending, which masks the fact that the film presents the Travellers as Ireland’s Indians: an excluded and forgotten minority living on the social margins. Today an estimated 23,000 Travellers live in the Republic of Ireland, 15,000 in Great Britain and 7,000 in the United States of America. Their Irish origins have been the object of speculation. Some writers trace them back to landowners made homeless during Cromwell’s campaign in Ireland or during the Great Famine of the mid-nineteenth century; others argue that Travellers have dwelt in Ireland since the Middle Ages. These nomads have their roots in Ireland and must be distinguished from Gypsies, even if they share many similar customs. In the past, they played an important role as messengers in isolated rural areas. The term “tinker,” which today has negative connotations, refers to one of their main occupations, tinkering. Industrialisation and modern technology have destroyed this economic basis of their life. Having been forced to adapt to new social Page 1 GRUNERT FILM JOURNAL 1 (2010) and economic conditions, Irish Travellers or Pavee1, as they now call themselves, have found new occupations such as collecting scrap. -
Writing the History of Women's Programming at Telifís Éireann: A
Alphaville: Journal of Film and Screen Media no. 20, 2020, pp. 38–53 DOI: https://doi.org/10.33178/alpha.20.04 Writing the History of Women’s Programming at Telifís Éireann: A Case Study of Home for Tea Morgan Wait Abstract: The history of women’s programming at the Irish television station Teilifís Éireann has long been neglected within the historiography of Irish television. Seminal studies within the field have focused quite specifically on the institutional history of the Irish station and have not paid much attention to programming. This is particularly true in regard to women’s programmes. This paper addresses this gap in the literature by demonstrating a methodological approach for reconstructing this lost segment of programming using the example of Home for Tea, a women’s magazine programme that ran on TÉ from 1964 to 1966. It was the network’s flagship women’s programme during this period but is completely absent from within the scholarship on Irish television. Drawing on the international literature on the history of women’s programmes this paper utilises press sources to reconstruct the Home for Tea’s content and discourse around it. It argues that, though Home for Tea has been neglected, a reconstruction of the programme illuminates wider themes of the everyday at Teilifís Éireann, such as a middle-class bias and the treatment of its actors. As such, its reconstruction, and that of other similar programmes, are exceptionally important in moving towards a more holistic history of the Irish station. In 1964, a woman from Rush wrote to the RTV Guide with a complaint about Irish national broadcaster Telifís Éireann’s schedule. -
WHAT DO BROKERS GAIN? BCP Asset Management Identified the Film & Television Sector As an Area for Structural Growth Over a Decade Ago
THE FINANCIAL EXPERTS 2021 SETTING THE ROADMAP Financial Brokers are experts on financial planning matters and work on your behalf giving you a choice of products and providers from across the market. Brokers Ireland mission is to promote, support and protect Insurance FINANCIAL and Financial Brokers so that our members are best positioned to ADVICE FROM offer expert and professional advice and services to their clients. THE EXPERTS Creating your success through Financial Planning 2021 Strategic Brokers Ireland will continuously identify core objectives throughout 2021 which embody the real challenges facing Irish Brokers to ensure that members Priorities at a Glance interests are consistently represented. EVOLVING www.financialbroker.ie THE BRAND FINANCIAL SERVICES GENERAL INSURANCE COMPLIANCE PRIORITIES PRIORITIES PRIORITIES Financial Brokers Insurance Brokers • Challenging over-regulation NEW • CP116 issues/CPC review • Pensions – simplification proposals, • Agency Agreements • CBI expectations - assessing WEBSITE auto-enrolment & IORP II • Differential Pricing financial soundness of insurers WORK IN • Financial Broker –promoting Brokers • Development of Insurance • Brexit Implications • Market Evolution for Financial Brokers Broker brand • Developing members LAUNCHED • Broker technology & software compliance services PROGRESS Financialbroker.ie 2020 Highlights ‘A Year Like No Other’ Implementation New Affinity of the Consumer Launch of new Insurance Financial E-Guide WHAT DOES €25 PER Broker website for members MONTH GET YOU? Contracts -
About the Artists
Fishamble: The New Play Company presents Swing Written by Steve Blount, Peter Daly, Gavin Kostick and Janet Moran Performed by Arthur Riordan and Gene Rooney ABOUT THE ARTISTS: Arthur Riordan - Performer (Joe): is a founder member of Rough Magic and has appeared in many of their productions, including Peer Gynt, Improbable Frequency, Solemn Mass for a Full Moon in Summer, and more. He has also worked with the Abbey & Peacock Theatre, Gaiety Theatre, Corcadorca, Pan Pan, Druid, The Corn Exchange, Bedrock Productions, Red Kettle, Fishamble, Project, Bewleys Café Theatre and most recently, with Livin’ Dred, in their production of The Kings Of The Kilburn High Road. Film and TV appearances include Out Of Here, Ripper Street, The Clinic, Fair City, Refuge, Borstal Boy, Rat, Pitch’n’Putt with Joyce’n’Beckett, My Dinner With Oswald, and more. Gene Rooney - Performer (May): has performed on almost every stage in Ireland in over 40 productions. Some of these include: Buck Jones and the Bodysnatchers (Dublin Theatre Festival), The Colleen Bawn Trials (Limerick City of Culture), Pigtown, The Taming of the Shrew, Lovers (Island Theatre Company), The Importance of Being Earnest (Gúna Nua), Our Father (With an F Productions), How I Learned to Drive (The Lyric, Belfast), I ❤Alice ❤ I (Hot for Theatre), TV and film work includes Moone Boy, Stella Days, The Sea, Hideaways, Killinaskully, Botched, The Last Furlong and The Clinic Janet Moran - Writer Janet’s stage work includes Juno and the Paycock (National Theatre, London/Abbey Theatre coproduction), Shibari, Translations, No Romance, The Recruiting Officer, The Cherry orchard, She Stoops to Conquer, Communion, The Barbaric Comedies, The Well of the Saints and The Hostage (all at the Abbey Theatre). -
Maple and Shamrock: Seeking a Strategy for Survival in the Audiovisual Jungle
Maple and Shamrock: seeking a strategy for survival in the audiovisual jungle. Colum Kenny Context Attempting to assess what the future might hold for Irish broadcasters and producers, especially in the light of digital and multimedia developments and of increasing competition, I recently paid a visit to Ontario and Quebec, two adjacent provinces of Canada. It is a country where audiovisual matters have long been taken seriously. Canada's proximity to the U.S. 'elephant', as that neighbour is sometimes known, concentrates the northern state's collective mind on survival strategies. Previous trips to Canada, including attendance at the Toronto Film Festival and participation as a guest in the Banff Television Festival in Alberta, had induced in the author an admiration for the practical ways in which Canadians have responded to audiovisual challenges. In contrast, Irish broadcasting developments have been stunted by bad planning and poor preparation and marked by an absence of clear strategic focus. Policy has been eschewed in favour of politics and opportunities to build up the kind of audiovisual sector we might have had have been lost. It was at Ottawa, in September 1948, that a visiting Taoiseach, John A. Costello, proclaimed for the first time his own government's intention of declaring Ireland a republic. His successors might consider another visit, specifically to see how a relatively small country can articulate successfully an elaborate media policy. Canada enjoys a remarkably sophisticated system of regulation, licensing and support which manages to keep scores of television stations and hundreds of radio services on the air in a country of under 30 million people. -
Scheduling As a Tool of Management in RTÉ Television
Technological University Dublin ARROW@TU Dublin Doctoral Applied Arts 2011-7 Rationalising Public Service: Scheduling as a Tool of Management in RTÉ Television Ann-Marie Murray Technological University Dublin, [email protected] Follow this and additional works at: https://arrow.tudublin.ie/appadoc Part of the Arts Management Commons, Business and Corporate Communications Commons, and the Other Film and Media Studies Commons Recommended Citation Murray, A. (2011) Rationalising Public Service: Scheduling as a Tool of Management in RTÉ Television. Doctoral Thesis, Technological University Dublin. doi:10.21427/D70307 This Theses, Ph.D is brought to you for free and open access by the Applied Arts at ARROW@TU Dublin. It has been accepted for inclusion in Doctoral by an authorized administrator of ARROW@TU Dublin. For more information, please contact [email protected], [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License Rationalising Public Service: Scheduling as a Tool of Management in RTÉ Television Ann-Marie Murray This thesis is submitted to the Dublin Institute of Technology in Candidature for the Degree of Doctor of Philosophy July 2011 School of Media Faculty of Applied Arts Supervisor: Dr. Edward Brennan Abstract Developments in the media industry, notably the increasing commercialisation of broadcasting and deregulation, have combined to create a television system that is now driven primarily by ratings. Public broadcast organisations must adopt novel strategies to survive and compete in this new environment, where they need to combine public service with popularity. In this context, scheduling has emerged as the central management tool, organising production and controlling budgets, and is now the driving force in television. -
Cultural and Structural Change in Irish Television Drama
Irish Communication Review Volume 8 Issue 1 Article 1 January 2000 Cultural and Structural Change in Irish Television Drama Edward Brennan Technological University Dublin Follow this and additional works at: https://arrow.tudublin.ie/icr Part of the Communication Technology and New Media Commons Recommended Citation Brennan, Edward (2000) "Cultural and Structural Change in Irish Television Drama," Irish Communication Review: Vol. 8: Iss. 1, Article 1. doi:10.21427/D79Q7W Available at: https://arrow.tudublin.ie/icr/vol8/iss1/1 This Article is brought to you for free and open access by the Current Publications at ARROW@TU Dublin. It has been accepted for inclusion in Irish Communication Review by an authorized administrator of ARROW@TU Dublin. For more information, please contact [email protected], [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License IRISH COMMUNICATIONS REVIEW VOL 8 2000 Edward Brennan is a Cultural and Structural Change in PhD candidate in the Department of Irish Television Drama Sociology, University College Dublin. Edward Brennan A dominant ideology in RTÉ? According to Devereux (1998), RTÉ drama, and RTÉ television in general, excludes 1. Glenroe is a long society’s powerless. This is, in his view, a result of the ideology of RTÉ drama producers. running soap opera set in Devereux’s research on RTÉ drama concentrates on Glenroe1. It states that Glenroe fails a small rural community to represent adequately those who are marginalised in Irish society. In passing, within Dublin’s hinterland. It is unusual in that it has Devereux mentions some material and organisational constraints which may help to continuity in characters, explain why this is so. -
Druid & Atlantic Theater Company
CAL PERFORMANCES PRESENTS CAST Wednesday–Friday, May 4–6, 2011, 8pm The Cripple of Inishmaan Saturday, May 7, 2011, 2pm & 8pm Sunday, May 8, 2011, 3pm & 8pm cast Tuesday–Friday, May 10–13, 2011, 8pm (in order of appearance) Saturday, May 14, 2011, 2pm & 8pm Eileen Dearbhla Molloy † Zellerbach Playhouse Kate Ingrid Craigie JohnnyPateenMike Dermot Crowley † Billy Claven Tadhg Murphy † Bartley Laurence Kinlan Druid & Atlantic Theater Company † Slippy Helen Clare Dunne BabbyBobby Liam Carney† Doctor McSharry Paul Vincent O’Connor Mammy O’Dougal Nancy E. Carroll † These actors appear with the permission of Actors’ Equity Association, pursuant to an exchange program between American Equity and Irish Equity. Sets & Costumes Francis O’Connor Lights Davy Cunningham Sound John Leonard Composer Colin Towns U.S. Casting Laura Stanczyk Irish Casting Maureen Hughes Fight Director J. David Brimmer Company Stage Director Sarah Lynch Stage Manager David H. Lurie Assistant Stage Manager Sarah Lynch Robert Day Robert Production Manager Eamonn Fox crew The Cripple of Inishmaan Production Manager Eamonn Fox by Martin McDonagh Technical Manager Barry O’Brien Directed by Garry Hynes Master Carpenter Gus Dewar Deputy Master Carpenter Tony Cording Druid is grant aided by the Arts Council of Ireland and gratefully acknowledges the support of Carpenter Peter Nelson Culture Ireland for funding its international touring program. The Cripple of Inishmaan Special Props Pete Casby, Matt Guinnane is presented as part of Imagine Ireland, Culture Ireland’s year-long season of Irish arts in Technician Shannon Light America in 2011. Scenic Painters Sandra Butler, Jason McCaffrey, Noel Tate, Dympna Tate Costume Supervisor Doreen McKenna Wigs & Make-Up Val Sherlock Publicist Kate Bowe PR Graphic Design Bite!Associates Production Photography Robert Day The U.S. -
Televized Sport, Soap Opera and Male and Female Pleasures BARBARA O'connor School of Communications, Dublin City University, Dublin 9, Ireland
Dallas with balls: televized sport, soap opera and male and female pleasures BARBARA O'CONNOR School of Communications, Dublin City University, Dublin 9, Ireland RAYMOND BOYLE Communication Department, Glasgow Caledonian University, 70 Concaddens Road, Glasgow G4 0BA, Scotland, UK Two of the most popular of television genres, soap opera and sports coverage have been very much differentiated along gender lines in terms of their audiences. Soap opera has been regarded very much as a 'gynocentric' genre with a large female viewing audience while the audiences for television sport have been predominantly male. Gender differentiation between the genres has had implications for the popular image of each. Soap opera has been perceived as inferior; as mere fantasy and escapism for women while television sports has been perceived as a legitimate, even edifying experience for men. In this article the authors challenge the view that soap opera and television sport are radically different and argue that they are, in fact, very similar in a number of significant ways. They suggest that both genres invoke similar structures of feeling and sensibility in their respective audiences and that television sport is a 'male soap opera'. They consider the ways in which the viewing context of each genre is related to domestic life and leisure, the ways in which the textual structure and conventions of each genre invoke emotional identification, and finally, the ways in which both genres re-affirm gender identities. 'Explain the success of snooker on television? "Simple, it's Dallas with balls.' Barry Hearn, sports entrepreneur, interview with Raymond Boyle, April 1987. -
Liberation Entertainment and Samson Films Present in Association With
Liberation Entertainment and Samson Films present in association with Radio Telefís Éireann and the Broadcasting Commission of Ireland with the participation of Bord Scannán na hÉireann/The Irish Film Board EDEN Directed by Declan Recks Produced by David Collins Screenplay by Eugene O’Brien (Based on his original play) Film Festivals Edinburgh International Film Festival Tribeca Film Festival Los Angeles Irish Film Festival Awards Eileen Walsh, Best Actress - 2008 Tribeca Film Festival Specs 84 Mins - Color - Dolby Digital - English - Not Rated NY PUBLICITY LA PUBLICITY Falco, Ink. Marina Bailey Film Publicity Shannon Treusch Marina Bailey Betsy Rudnick 323.650.3627 212.445.7100 [email protected] [email protected] [email protected] DISTRIBUTION CONTACT FIELD PUBLICTY Liberation Entertainment Liberation Entertainment Emily Woodburne James Teel 917.403.6638 310.475.6678 [email protected] [email protected] OPENS NOVEMBER 7 th IN NEW YORK and NOVEMBER 21 st in LOS ANGELES For photography and materials please visit www.EdenMovie.net 1 EDEN CAST Billy Farrell AIDAN KELLY Breda Farrell EILEEN WALSH Eoghan PADRAIC DELANEY Breffni Grehan KARL SHIELS Eilish Moore LESLEY CONROY Imelda Egan SARAH GREENE Edel Farrell CAROLYN MURRAY James Farrell BRENDAN KELLEHER Tony Tyrell ENDA OATES Yvonne Egan KATE O'TOOLE Ernie Egan GARY LILBURN Feggy Fennelly NOEL O'DONOVAN Naomi MICHELLE BEAMISH Quenchers Quinn RICHIE RECKS Dessie GAVIN O'CONNOR Dessie's Girlfriend KATIE McGRATH Amanda LEEONA