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Smartglass International “Tunes In” to ITV Daybreak…
Project Case Study No. 19 SmartGlass International “tunes in” to ITV Daybreak… Client: ITV Daybreak Operator: GMTV Limited Daybreak is the weekday breakfast television programme Contract Size: £135k broadcast from 6:00am to 8:30am for the British commercial ITV Date: August 2010 network anchored by Adrian Chiles and Christine Bleakley. The ability to instantly switch the glass to maximize daylight when Daybreak took to the air on Monday 6 th September as the much- it’s really needed and to provide controllable solar shading during heralded replacement for breakfast TV show GMTV. More than peak light conditions is valuable and unique. This feature is one million people tuned in to see the launch of ITV's new especially useful for application in a television studio as it allows breakfast show - an improvement over its predecessor, GMTV. for maximum daylight to enter without compromising recording ITV said the show, which featured an interview with former Prime quality and controls room temperature which is also critical in this Minister Tony Blair, peaked at 1.5m viewers. ITV are one of the particular environment. UK’s largest broadcasting stations and reach approximately 13 million viewers a week with Daybreak regularly accounting for a Daybreak is broadcast from dawn meaning the levels of sunlight large proportion of this. entering the studio vary throughout the morning. When the sun is just rising over London the backdrop is in darkness, at this stage The Daybreak studio is located in the heart of London at South the glass is at its clearest state where it will allow for maximum Bank studios. -
Bad Girls: Agency, Revenge, and Redemption in Contemporary Drama
e Interdisciplinary Journal of Popular Culture and Pedagogy Bad Girls: Agency, Revenge, and Redemption in Contemporary Drama Courtney Watson, Ph.D. Radford University Roanoke, Virginia, United States [email protected] ABSTRACT Cultural movements including #TimesUp and #MeToo have contributed momentum to the demand for and development of smart, justified female criminal characters in contemporary television drama. These women are representations of shifting power dynamics, and they possess agency as they channel their desires and fury into success, redemption, and revenge. Building on works including Gillian Flynn’s Gone Girl and Netflix’s Orange is the New Black, dramas produced since 2016—including The Handmaid’s Tale, Ozark, and Killing Eve—have featured the rise of women who use rule-breaking, rebellion, and crime to enact positive change. Keywords: #TimesUp, #MeToo, crime, television, drama, power, Margaret Atwood, revenge, Gone Girl, Orange is the New Black, The Handmaid’s Tale, Ozark, Killing Eve Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy 37 Watson From the recent popularity of the anti-heroine in novels and films like Gone Girl to the treatment of complicit women and crime-as-rebellion in Hulu’s adaptation of The Handmaid’s Tale to the cultural watershed moments of the #TimesUp and #MeToo movements, there has been a groundswell of support for women seeking justice both within and outside the law. Behavior that once may have been dismissed as madness or instability—Beyoncé laughing wildly while swinging a baseball bat in her revenge-fantasy music video “Hold Up” in the wake of Jay-Z’s indiscretions comes to mind—can be examined with new understanding. -
The Practice of Advertising to Jan, Always the Practice of Advertising
The Practice of Advertising To Jan, always The Practice of Advertising Edited by Adrian R. Mackay Fifth edition AMSTERDAM ● BOSTON ● HEIDELBERG ● LONDON ● NEW YORK ● OXFORD PARIS ● SAN DIEGO ● SAN FRANCISCO ● SINGAPORE ● SYDNEY ● TOKYO Elsevier Butterworth-Heinemann Linacre House, Jordan Hill, Oxford OX2 8DP 30 Corporate Drive, Burlington, MA 01803 First published 1978 Reprinted 1981 Second edition 1983 Reprinted 1984, 1985, 1986 Third edition 1990 Reprinted 1990, 1993 Fourth edition 1995 Reprinted 1996, 2001 Fifth edition 2005 Copyright © 2005, Elsevier Ltd. All rights reserved No part of this publication may be reproduced in any material form (including photocopying or storing in any medium by electronic means and whether or not transiently or incidentally to some other use of this publication) without the written permission of the copyright holder except in accordance with the provisions of the Copyright, Designs and Patents Act 1988 or under the terms of a licence issued by the Copyright Licensing Agency Ltd, 90 Tottenham Court Road, London, England W1T 4LP. Applications for the copyright holder’s written permission to reproduce any part of this publication should be addressed to the publisher Permissions may be sought directly from Elsevier’s Science & Technology Rights Department in Oxford, UK: phone: (ϩ144) 1865 843830, fax: (ϩ144) 1865 853333, e-mail: [email protected]. You may also complete your request on-line via the Elsevier homepage (http://www.elsevier.com), by selecting ‘Customer Support’ and then ‘Obtaining Permissions’ -
DISCOVER NEW WORLDS with SUNRISE TV TV Channel List for Printing
DISCOVER NEW WORLDS WITH SUNRISE TV TV channel list for printing Need assistance? Hotline Mon.- Fri., 10:00 a.m.–10:00 p.m. Sat. - Sun. 10:00 a.m.–10:00 p.m. 0800 707 707 Hotline from abroad (free with Sunrise Mobile) +41 58 777 01 01 Sunrise Shops Sunrise Shops Sunrise Communications AG Thurgauerstrasse 101B / PO box 8050 Zürich 03 | 2021 Last updated English Welcome to Sunrise TV This overview will help you find your favourite channels quickly and easily. The table of contents on page 4 of this PDF document shows you which pages of the document are relevant to you – depending on which of the Sunrise TV packages (TV start, TV comfort, and TV neo) and which additional premium packages you have subscribed to. You can click in the table of contents to go to the pages with the desired station lists – sorted by station name or alphabetically – or you can print off the pages that are relevant to you. 2 How to print off these instructions Key If you have opened this PDF document with Adobe Acrobat: Comeback TV lets you watch TV shows up to seven days after they were broadcast (30 hours with TV start). ComeBack TV also enables Go to Acrobat Reader’s symbol list and click on the menu you to restart, pause, fast forward, and rewind programmes. commands “File > Print”. If you have opened the PDF document through your HD is short for High Definition and denotes high-resolution TV and Internet browser (Chrome, Firefox, Edge, Safari...): video. Go to the symbol list or to the top of the window (varies by browser) and click on the print icon or the menu commands Get the new Sunrise TV app and have Sunrise TV by your side at all “File > Print” respectively. -
Tennessee, Chamber of Commerce Page 1 of 8 4
D . Lake City, Tennessee, Chamber of Commerce Page 1 of 8 4 Business Directory Select the classification of the business you- desire. IBanks & Financial Sewices 4%- Banks I Financial Services Member Name I Address I City \Statel Zip I Phone BankAmerica 1P.O. Box614 ]Lake Citv. ITN 1377691 426-7481 SunTrust Bank IP.0. Box 68 ILake City ITN 1377691 426-7451 First Choice Financial I I I I I Group 2841 Norris Freeway Andemnville TN 37705 494-0702 First National Bank 2106 N Charles Seivers Blvd. Clinton TN 37716 457-8684 423-562- Peoples National Bank P.O. Box 1221 LaFolletle TN 37766 4921 . ~-Return to Top of .me Chambers of Commerce Member Name I Address I Ci lStatel Zia I Phone 1 ~ ~~ -~ Anderson County Chamber of Commerce 245 N. Main St., Suite 200 Clinton TN 37716 457-2559 Knoxville Chamber 601 W. Summit Hill Dr., Suite Partnership 300 Knoxville TN 37902 637-4550 Monroe County Chamber 423-442- of Commerce 4765 Highway 68 Madisonville TN 37354 4588 http://~.lak~i~.or~directory.html 711 6/03 . Lake City, Tennessee, Chamber of Commerce Page 2 of 8 Member Name Address City State Zip Phone Lake City Chnstian Fellowship 506 4th Street, POB 939 LakeCity TN 37769 426-6544 Ret-umto1op-dPme Communications Yellow Book Southern Returnto Top of Page Healthcare I http Nwww lakecitytn.org/directory html 71 16/03 . Lake City, Tennessee, Chamber of Commerce Page 3 of 8 Noe, Dr. Ronald E IP.0. Box 599 ILake City ITN 1377691 426-7421 Pryse, Dr. John C., Jr I180 Edgewood Ave. -
THE MODERATE SOPRANO Glyndebourne’S Original Love Story by David Hare Directed by Jeremy Herrin
PRESS RELEASE IMAGES CAN BE DOWNLOADED HERE Twitter | @ModerateSoprano Facebook | @TheModerateSoprano Website | www.themoderatesoprano.com Playful Productions presents Hampstead Theatre’s THE MODERATE SOPRANO Glyndebourne’s Original Love Story By David Hare Directed by Jeremy Herrin LAST CHANCE TO SEE DAVID HARE’S THE MODERATE SOPRANO AS CRITICALLY ACCLAIMED WEST END PRODUCTION ENTERS ITS FINAL FIVE WEEKS AT THE DUKE OF YORK’S THEATRE. STARRING OLIVIER AWARD WINNING ROGER ALLAM AND NANCY CARROLL AS GLYNDEBOURNE FOUNDER JOHN CHRISTIE AND HIS WIFE AUDREY MILDMAY. STRICTLY LIMITED RUN MUST END SATURDAY 30 JUNE. Audiences have just five weeks left to see David Hare’s critically acclaimed new play The Moderate Soprano, about the love story at the heart of the foundation of Glyndebourne, directed by Jeremy Herrin and starring Olivier Award winners Roger Allam and Nancy Carroll. The production enters its final weeks at the Duke of York’s Theatre where it must end a strictly limited season on Saturday 30 June. The previously untold story of an English eccentric, a young soprano and three refugees from Germany who together established Glyndebourne, one of England’s best loved cultural institutions, has garnered public and critical acclaim alike. The production has been embraced by the Christie family who continue to be involved with the running of Glyndebourne, 84 years after its launch. Executive Director Gus Christie attended the West End opening with his family and praised the portrayal of his grandfather John Christie who founded one of the most successful opera houses in the world. First seen in a sold out run at Hampstead Theatre in 2015, the new production opened in the West End this spring, with Roger Allam and Nancy Carroll reprising their original roles as Glyndebourne founder John Christie and soprano Audrey Mildmay. -
Sexuality Is Fluid''[1] a Close Reading of the First Two Seasons of the Series, Analysing Them from the Perspectives of Both Feminist Theory and Queer Theory
''Sexuality is fluid''[1] a close reading of the first two seasons of the series, analysing them from the perspectives of both feminist theory and queer theory. It or is it? An analysis of television's The L Word from the demonstrates that even though the series deconstructs the perspectives of gender and sexuality normative boundaries of both gender and sexuality, it can also be said to maintain the ideals of a heteronormative society. The [1]Niina Kuorikoski argument is explored by paying attention to several aspects of the series. These include the series' advertising both in Finland and the ("Seksualność jest płynna" - czy rzeczywiście? Analiza United States and the normative femininity of the lesbian telewizyjnego "The L Word" z perspektywy płci i seksualności) characters. In addition, the article aims to highlight the manner in which the series depicts certain characters which can be said to STRESZCZENIE : Amerykański serial telewizyjny The L Word stretch the normative boundaries of gender and sexuality. Through (USA, emitowany od 2004) opowiada historię grupy lesbijek this, the article strives to give a diverse account of the series' first two i biseksualnych kobiet mieszkających w Los Angeles. Artykuł seasons and further critical discussion of The L Word and its analizuje pierwsze dwa sezony serialu z perspektywy teorii representations. feministycznej i teorii queer. Chociaż serial dekonstruuje normatywne kategorie płci kulturowej i seksualności, można ______________________ również twierdzić, że podtrzymuje on ideały heteronormatywnego The analysis in the article is grounded in feminist thinking and queer społeczeństwa. Przedstawiona argumentacja opiera się m. in. na theory. These theoretical disciplines provide it with two central analizie takich aspektów, jak promocja serialu w Finlandii i w USA concepts that are at the background of the analysis, namely those of oraz normatywna kobiecość postaci lesbijek. -
REALLY BAD GIRLS of the BIBLE the Contemporary Story in Each Chapter Is Fiction
Higg_9781601428615_xp_all_r1_MASTER.template5.5x8.25 5/16/16 9:03 AM Page i Praise for the Bad Girls of the Bible series “Liz Curtis Higgs’s unique use of fiction combined with Scripture and modern application helped me see myself, my past, and my future in a whole new light. A stunning, awesome book.” —R OBIN LEE HATCHER author of Whispers from Yesterday “In her creative, fun-loving way, Liz retells the stories of the Bible. She deliv - ers a knock-out punch of conviction as she clearly illustrates the lessons of Scripture.” —L ORNA DUECK former co-host of 100 Huntley Street “The opening was a page-turner. I know that women are going to read this and look at these women of the Bible with fresh eyes.” —D EE BRESTIN author of The Friendships of Women “This book is a ‘good read’ directed straight at the ‘bad girl’ in all of us.” —E LISA MORGAN president emerita, MOPS International “With a skillful pen and engaging candor Liz paints pictures of modern sit u ations, then uniquely parallels them with the Bible’s ‘bad girls.’ She doesn’t condemn, but rather encourages and equips her readers to become godly women, regardless of the past.” —M ARY HUNT author of Mary Hunt’s Debt-Proof Living Higg_9781601428615_xp_all_r1_MASTER.template5.5x8.25 5/16/16 9:03 AM Page ii “Bad Girls is more than an entertaining romp through fascinating charac - ters. It is a bona fide Bible study in which women (and men!) will see them - selves revealed and restored through the matchless and amazing grace of God.” —A NGELA ELWELL HUNT author of The Immortal “Liz had me from the first paragraph. -
BARB Establishment Survey Annual Data Report Volume 1
BARB Establishment Survey Annual Data Report Volume 1: Total Network & Appendices April 2011 to March 2012 BARB ESTABLISHMENT SURVEY OF TV HOMES Page 1 DATA PERIOD: ANNUAL April 2011 - March 2012 Contents Page Total Network (All Areas) Annual Data Tables 1 Introduction 2 Household Table 1: Social Grade 3 Table 2: Housewife Age 4 Table 3: Size of Household 5 Table 4: Presence of Children 6 Table 5: Number of TV sets in household 7 Table 6: Screen size 8 Table 7: Location of ANY set in household 9 Table 8: Recorders 10 Table 9: Other TV equipment 11 Table 10: Computers and Internet 12 Sets Table 11: Screen Size 13 Table 12: Location of set 14 Table 13: Recorders 15 Table 14: Other TV equipment 15 Table 15: Main Set Screen Size 16 Table 16: Main Set Recorders 17 Table 17: Main Set - Other TV equipment 17 Table 18: Other Sets (non-Main Set) Screen Size 18 Table 19: Other Set (non-Main Set) Recorders 19 Table 20: Other Set (non-Main Set) - Other TV equipment 19 Individuals Table 21: Age of Children 20 Table 22: Adults - Age 21 Table 23: Social Grade (Adults 16+) 22 Table 24: Working Status (Adults 16+) 23 Table 25: Males - Age 24 Table 26: Social Grade (Males 16+) 25 Table 27: Working Status (Males 16+) 26 Table 28: Females - Age 27 Table 29: Social Grade (Females 16+) 28 Table 30: Working Status (Females 16+) 29 Appendices Appendix A: Survey objectives Appendix B: The sample Appendix C: Fieldwork and results Appendix D: Definitions Appendix E: Number of televisions in the household Appendix F: Rounding Appendix G: Sample bases for the tables Appendix H: Multiple households at issued addresses Appendix I: Weighting Appendix J: The Questionnaire (March 2012) See also VOLUME 2 - BBC Areas VOLUME 3 - ITV Areas Introduction Page 2 This reports contains the weighted data results from the Establishment survey for the period April 2011 - March 2012 Data is presented at different levels Household Set Individual Accordingly; bases do vary. -
Weekly Highlights Week 04/05: Sat 30Th January - Fri 5Th February 2021
Weekly Highlights Week 04/05: Sat 30th January - Fri 5th February 2021 Joanna Lumley’s Home Sweet Home - Travels in My Own Land Tuesday, 8pm The presenter sets off on a journey around the UK. This information is embargoed from reproduction in the public domain until Tue 26th January 2021. Press contacts Further programme publicity information: ITV Press Office [email protected] www.itv.com/presscentre @itvpresscentre ITV Pictures [email protected] www.itv.com/presscentre/itvpictures ITV Billings [email protected] www.ebs.tv This information is produced by EBS New Media Ltd on behalf of ITV +44 (0)1462 895 999 Please note that all information is embargoed from reproduction in the public domain as stated. Weekly highlights Simply Raymond Blanc Saturday, 11.40am 30th January ITV Join Raymond Blanc and enjoy some Le Manoir Magic as he rustles up a selection of simple yet delicious dishes from the heart of his Oxfordshire kitchen. In this series opener, the chef is joined by Angela Hartnett, who’s cooking a stunning tagliatelle for her friend. Plus, the host creates food for every palette, from a sumptuous meringue with blackcurrant coulis to a heritage salad with beetroot. The Masked Singer Saturday, 7pm 30th January ITV TV’s craziest guessing game continues its second series. Joel Dommett presents as a gang of celebrities don costumes and sing with their identities hidden. There are shocks in store as the remaining seven are cut to five in a double elimination. Will Rita Ora, Jonathan Ross, Davina McCall, Mo Gilligan and guest Alan Carr be able to guess who is performing? Two singers are unmasked at the end of tonight’s show. -
Scotland's Home of News and Entertainment
Scotland’s home of news and entertainment Strategy Update May 2018 STV in 2020 • A truly multi-platform media company with a balanced profit base across broadcast, production and digital o Expect around 1/3rd of profit from sources other than linear spot advertising (vs 17% today) • A magnet for the best creative talent from Scotland and beyond • A brand famous for a range of high quality programming and accessible by all Scots wherever they are in the world via the STV app • One of the UK’s leading producers, making world class returning series for a range of domestic and international players • Working in partnership with creative talent, advertisers, businesses and Government to drive the Scottish economy and showcase Scotland to the world Scotland’s home of news and entertainment 2 We have a number of strengths and areas of competitive advantage Strong, trusted brand Unrivalled Talented, connection with committed people Scottish viewers and advertisers Robust balance sheet and growing Scotland’s most returns to powerful marketing shareholders platform Settled A production relationship with business well ITV which placed for incentivises STV Profitable, growing “nations and to go digital digital business regions” growth holding valuable data 3 However, there is also significant potential for improvement •STV not famous for enough new programming beyond news •STV brand perceived as ageing and safe BROADCAST •STV2 not cutting through •News very broadcast-centric and does not embrace digital •STV Player user experience lags competition -
The Factory, Manchester
THE FACTORY, MANCHESTER The Factory is where the art of the future will be made. Designed by leading international architectural practice OMA, The Factory will combine digital capability, hyper-flexibility and wide open space, encouraging artists to collaborate in new ways, and imagine the previously unimagined. It will be a new kind of large-scale venue that combines the extraordinary creative vision of Manchester International Festival (MIF) with the partnerships, production capacity and technical sophistication to present innovative contemporary work year-round as a genuine cultural counterweight to London. It is scheduled to open in the second half of 2019. The Factory will be a building capable of making and presenting the widest range of art forms and culture plus a rich variety of technologies: film, TV, media, VR, live relays, and the connections between all of these – all under one roof. With a total floor space in excess of 15,000 square meters, high-spec tech throughout, and very flexible seating options, The Factory will be a space large enough and adaptable enough to allow more than one new work of significant scale to be shown and/or created at the same time, accommodating combined audiences of up to 7000. It will be able to operate as an 1800 seat theatre space as well as a 5,000 capacity warehouse for immersive, flexible use - with the option for these elements to be used together, or separately, with advanced acoustic separation. It will be a laboratory as much as a showcase, a training ground as well as a destination. Artists and companies from across the globe, as well as from Manchester, will see it as the place where they can explore and realise dream projects that might never come to fruition elsewhere.