2011 Festival Program
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
TAL Distribution Press Release
This American Life Moves to Self-Distribute Program Partners with PRX to Deliver Episodes to Public Radio Stations May 28, 2014 – Chicago. Starting July 1, 2014, Chicago Public Media and Ira Glass will start independently distributing the public radio show This American Life to over 500 public radio stations. Episodes will be delivered to radio stations by PRX, The Public Radio Exchange. Since 1997, the show has been distributed by Public Radio International. “We’re excited and proud to be partners now with PRX,” said Glass. “They’ve been a huge innovative force in public radio, inventing technologies and projects to get people on the air who’d have a much harder time without them. They’re mission- driven, they’re super-capable and apparently they’re pretty good with computers.” “We are huge fans of This American Life and are thrilled to support their move to self-distribution on our platform,” said Jake Shapiro, CEO of PRX. “We’ve had the privilege of working closely with Ira and team to develop This American Life’s successful mobile apps, and are honored to expand our partnership to the flagship broadcast.” This American Life will take over other operations that were previously handled by PRI, including selling underwriting and marketing the show to stations. The marketing and station relations work will return to Marge Ostroushko, who did the job back before This American Life began distribution with PRI. This American Life, produced by Chicago Public Media and hosted by Ira Glass, is heard weekly by 2.2 million people over the radio. -
One of Us Discussion Guide
www.influencefilmclub.com One of Us Discussion Guide Director: Heidi Ewing & Rachel Grady Year: 2017 Time: 95 min You might know this directorial team from: Norman Lear: Just Another Version of You (2016) Detropia (2012) 12th & Delaware (2010) Jesus Camp (2006) The Boys of Baraka (2005) FILM SUMMARY Much like trying to escape the clutches of an extreme religious cult, it turns out leaving Brooklyn’s Hasidic Jewish society without some sort of psychiatric (and in some cases physical) damage is rather difficult. As a cloistered community constructed in the wake of the Holocaust with the sole purpose of self-preservation, the Hasidic populace live under strict religious law and patriarchal control, with its own private school system and emergency services. With ONE OF US, co-directors Heidi Ewing and Rachel Grady had to develop a covert system for shooting in order to infiltrate this reticent community as they documented a trio of Jews whose curiosity led them away from the laws of their faith and into the secular world. Ari, the youngest at 18, discovers the wonders of the internet. He soon realizes just how much of the world has been kept from him, having been raised in religious schools without access to outside information in any form. Luzer, having left years prior, lives in a mobile home in Los Angeles with dreams of breaking into Hollywood and nightmares of religious upbringing. Both men are frank about their sheltered, stifling, abusive experiences growing up. And yet they continue to mourn their loss of purpose—something that all men of faith possess— while their curiosity about the greater world leaves them permanently searching. -
This Version Has the Raw Data in an Appendix)
Accepted for publication in 2020 by the International Journal of Communication, ijoc.org (this version has the raw data in an appendix) Podcasting as Public Media: The Future of U.S. News, Public Affairs and Educational Podcasts PATRICIA AUFDERHEIDE American University, USA DAVID LIEBERMAN The New School, USA ATIKA ALKHALLOUF American University, USA JIJI MAJIRI UGBOMA The New School, USA This article identifies a U.S.-based podcasting ecology as public media, and then examines the threats to its future. It first identifies characteristics of a set of podcasts in the U.S. that allow them to be usefully described as public podcasting. Second, it looks at current business trends in podcasting as platformization proceeds. Third, it identifies threats to public podcasting’s current business practices. Finally, it analyzes responses within public podcasting to the potential threats. It concludes that currently, the public podcast ecology in the U.S. maintains some immunity from the most immediate threats, but that as well there are underappreciated threats to it both internally and externally. Keywords: podcasting, public media, platformization, business trends, public podcasting ecology As U.S. podcasting becomes an increasingly commercially-viable part of the media landscape, are its public-service functions at risk? This article explores that question, in the process postulating that the concept of public podcasting has utility in describing, not only a range of podcasting practices, but an ecology within the larger podcasting ecology—one that permits analysis of both business methods and social practices, one that deserves attention and even protection. This analysis contributes to the burgeoning literature on podcasting by enabling focused research in this area, permitting analysis of the sector in ways that permit thinking about the relationship of mission and business practice sector-wide. -
2007 Highlander Vol 89 No 15 January 30, 2007
Regis University ePublications at Regis University Highlander - Regis University's Student-Written Archives and Special Collections Newspaper 1-30-2007 2007 Highlander Vol 89 No 15 January 30, 2007 Follow this and additional works at: https://epublications.regis.edu/highlander Part of the Education Commons, and the Religion Commons Recommended Citation "2007 Highlander Vol 89 No 15 January 30, 2007" (2007). Highlander - Regis University's Student-Written Newspaper. 237. https://epublications.regis.edu/highlander/237 This Book is brought to you for free and open access by the Archives and Special Collections at ePublications at Regis University. It has been accepted for inclusion in Highlander - Regis University's Student-Written Newspaper by an authorized administrator of ePublications at Regis University. For more information, please contact [email protected]. )I • I• Volume 89, Issue 15 January 30, 2007 Regis University e a weekly publication 1 er The Jesuit University of the Rockies www.RegisHighlander.com Denver, Colorado Tuition rates · on heading up What students need to know about the new fiscal year Jacqueline Kharouf Ed;tor-in-Chief With the new fiscal year, students are reminded by enrollment services to complete their FAFSA applications by March, to pay their semester tuition bills on time, and to prep for taxes and student loan fees. But with the 2007- 2008 fiscal year comes another finan cial based to-do on the new year agen da: adapting for the new tuition rates at Regis University. Every year the Executive Budget Committee (EBC), comprised of vice presidents and academic deans, which meets weekly throughout the school year, works on putting together tuition rates, estimating credit hour produc tion revenue (also known as enroll ment rates), and examining the expen diture side of the university budget. -
Classical Music on Dual Format Stations
_____________________________________________________________ Walrus Research Core Values of Classical Music Dual Format Stations Abridged Report Focus Groups Summer 2004 Reality has a way of eventually getting your attention Core Values Dual Formats “It lowers my blood pressure. My work is pretty stressful, and when it gets really stressful I just turn to classical. It calms me down. It soothes the savage beast.” -- WITF Listener “The music allows me to think through things and it doesn’t blare at me. It’s soothing.” -- WABE Listener “I really like the classical music, I just find it very calming. It lets you think better. Listening to it I think it’s beautiful music and it tends to make one more reflective. Soothing and relaxation.” -- WERN Listener Walrus Research 2 Core Values Dual Formats Contents Introduction Page 4 Summary Findings Page 6 Research Design Page 7 Respondents Page 10 Agenda Page 13 Image – Dual Format Stations Page 15 Personal Importance Page 23 Benefits of Listening Page 26 Use and Gratifications Page 33 Telephone Screener Page 34 Walrus Research 3 Core Values Dual Formats Introduction This is the fourth report from our continuing research into the Core Values of public radio programming. Our first report was the Core Values of Local Information Programs, based on focus groups with NPR news listeners in four markets. For our second report, on the Core Values of Classical Music, we conducted focus groups with classical music listeners in six markets. For our third report, on the Core Values of Jazz Formats, we conducted focus groups with jazz listeners in four markets. -
Truthiness: This American Life and the Monologist Epilogue Ira Glass
CSJ- 12- 0046.2 • • Truthiness: This American Life and the Monologist Epilogue Ira Glass, host of This American Life (TAL), realized as soon as he spoke to Rob Schmitz of Marketplace that TAL would have to run an on-air correction of its January 6, 2012 show featuring Mike Daisey and his visit to Foxconn, an Apple supplier in Shenzhen, China. Glass was relieved to have some breathing space because Marketplace had contacted TAL rather than broadcasting the story on its news show first. “I’m not sure if other organizations would have done that,” says Glass.1 “They were reaching out to say, like, how should we handle this? Do you want to do something on your air?” Over multiple email and telephone exchanges beginning Monday, March 5, Schmitz and the TAL team of Glass, Senior Producer Julie Snyder and Producer Brian Reed decided to collaborate. , The group concluded that a simple on-air announcement at the start of a segment on another subject would be insufficient. The plan was that Schmitz would file a story for Marketplace that would include an interview with Daisey’s translator, Cathy Lee, and excerpts from the original broadcast of “Mr. Daisey and the Apple Factory,” along with his own reporting. The Marketplace report would be broadcast (and posted to its website) on Friday, March 16. The same day, TAL would air a “retraction” show addressing Daisey’s fabrications. The show would include a longer version of Schmitz’s story, and—if he agreed to it—an interview with Daisey. Daisey agreed, and on Friday, March 9, Glass and Schmitz jointly interviewed Daisey for three hours. -
LF 2021 Summer Term.Pdf
Living Faith Summer Term Ascension, Pentecost & Trinity Living Faith (2020) was prepared by Lindsey Hall. This Course contains some material from the previous Bishop’s Certificate Course, Prepared for the Ministry Division by Pauline Shelton, David Heywood and Elizabeth Jordan. © 2020 Vocations Team, Diocese of Lichfield Reproduction in whole or part is forbidden, whether for sale or otherwise, without written permission from: The DVE Strategy Enabler, 1 Three Spires House, Lichfield, WS13 6HX Ascension Pentecost Trinity 1. New Starts 2. Presence and Absence 3. The Holy Spirit 4. The Triune God 5. Film week 6. Made in God’s Image 7. The Parable of the Sower 8. Spreading the Word 9. I believe in the Church 10. Group Meal and Faith-Life Conversations Living Faith is an introductory course for people who want to learn more about the Christian faith and discipleship. It follows the seasons of the Christian year, and looks at some key aspects of Bible study, belief and the work of the Church. It ties in with the worshipping life of the Church as we journey through the Christian year and mark the key seasons and festivals. It is possible to start at the beginning of any of the modules, and you may want to adjust the times to fall in with Lent and Easter in particular. By the end of this course, participants should be able to: o Identify some of the distinctive features of each of the four Gospels o Outline some of the core doctrines of the Christian tradition o Reflect on the relationship between belief and practice o Demonstrate an understanding of faith-life conversations Facilitators Notes: You do not need any particular qualifications to lead this course; however it is useful to nominate someone to be the facilitator. -
Venturing in the Slipstream
VENTURING IN THE SLIPSTREAM THE PLACES OF VAN MORRISON’S SONGWRITING Geoff Munns BA, MLitt, MEd (hons), PhD (University of New England) A thesis submitted for the degree of Doctor of Philosophy of Western Sydney University, October 2019. Statement of Authentication The work presented in this thesis is, to the best of my knowledge and belief, original except as acknowledged in the text. I hereby declare that I have not submitted this material, either in full or in part, for a degree at this or any other institution. .............................................................. Geoff Munns ii Abstract This thesis explores the use of place in Van Morrison’s songwriting. The central argument is that he employs place in many of his songs at lyrical and musical levels, and that this use of place as a poetic and aural device both defines and distinguishes his work. This argument is widely supported by Van Morrison scholars and critics. The main research question is: What are the ways that Van Morrison employs the concept of place to explore the wider themes of his writing across his career from 1965 onwards? This question was reached from a critical analysis of Van Morrison’s songs and recordings. A position was taken up in the study that the songwriter’s lyrics might be closely read and appreciated as song texts, and this reading could offer important insights into the scope of his life and work as a songwriter. The analysis is best described as an analytical and interpretive approach, involving a simultaneous reading and listening to each song and examining them as speech acts. -
J.D. Marlow Editor
811 Walton Ave # F9 J.D. Marlow (646) 456-3844 Bronx, NY 10451 Editor [email protected] Film & Video Credits: Editor “Love Fraud” 200 min 2020 4-Part Showtime Original Documentary Series Dirs. Heidi Ewing & Rachel Grady 2020 Sundance Film Festival Editor “Dogs” 60 min 2018 Netflix Original DoCumentary Series Exec. Prod. Amy Berg, Dir. Heidi Ewing Episode 2 – “The Kid With The Dog” Episode 6 – “Second Chances” Editor “One of Us” 95 min 2017 Netflix Original DoCumentary Feature Dirs. Heidi Ewing & Rachel Grady 2018 Oscar Short List, 2017 Toronto Film Festival Editor “Stay Woke: The Black Lives Matter Movement” 42 min 2016 BET The Truth Series – Broadcast Dir. Laurens Grant, Exec. Producer Jesse Williams 2017 Image Awards Nominee – Outstanding Series or Special Editor “Norman Lear: Just Another Version of You” 91 min 2015 PBS AmeriCan Masters – Documentary Feature Dirs. Heidi Ewing & Rachel Grady 2016 Sundance Film Festival (Opening Night Film) Editor / Co-ProduCer “Seeds of Time” 77 min 2013 PBS / Kino Lorber – Documentary Feature 2014 SXSW Film Festival, 2015 Berlinale Editor / ProduCer “After the Storm: Lessons from the Northern Edge” 54 min 2008 PBS Rhode Island – Broadcast Additional ExperienCe: In-House Post ProduCer Postworks Sep ‘08 – Aug ‘11 - Specialized in RED CAMERA, PHANTOM, & DSLR File Based Workflows - Conventional Film-to-tape, tape-to-tape dailies (HD & SD) & file-based dailies (RED, P2, XDCAM) - DI & Finishing workflows, delivery to major networks: HBO, PBS, Discovery, etc. Skills / Knowledge: Software: 10+ yrs experience Avid Media Composer, Adobe Premiere, Photoshop, and After Effects Hardware: Mac & PC Platform fluent, Blackmagic Decklink Studio, AJA Kona Formats: 16/35mm, HDCAM/HDCAM-SR, DigiBeta, Beta SP, DVCAM, Mini-DV / HDV RED, Phantom, P2 (AVCHD, AVC-INTRA), XDCAM / EX, SLR formats (Canon 5D/7D, H.264) EduCation: Emerson College (Boston, MA) May 2008 B.F.A. -
'Freakonomics' Documentary May Be a Rarity: Profitable
April 4, 2010 ‘Freakonomics’ Documentary May Be a Rarity: Profitable By MICHAEL CIEPLY If Steven D. Levitt and Stephen J. Dubner, the authors of “Freakonomics,” were to examine the movie business, they might ask: Why do documentary filmmakers keep doing it? It can’t be the money, because the world is awash in documentaries that make little at the box office or are not distributed at all. Occasionally, though, a documentary makes a buck for those involved — and the new documentary based on “Freakonomics” could do just that. Magnolia Pictures is expected to announce on Monday that it has acquired domestic distribution rights to the film, which was produced by the Green Film Company and directed, in parts, by a series of well-known documentarians. Those include Alex Gibney ( “Taxi to the Dark Side” ), Rachel Grady and Heidi Ewing ( “Jesus Camp” ), Morgan Spurlock ( “Super Size Me” ), Eugene Jarecki ( “Why We Fight” ) and Seth Gordon ( “The King of Kong” ). “Freakonomics,” the film, got started when Chad Troutwine, a producer who worked on an earlier multidirector movie, “Paris, Je T’aime,” became interested in the best-selling book, which looks into matters like the socioeconomic implications of baby naming. Dan O’Meara, who with Chris Romano and Mr. Troutwine is a producer of “Freakonomics,” said the movie cost just under $3 million, which is not small potatoes in the documentary world. One financial hurdle, Mr. O’Meara said, was that the big-name filmmakers, unlike many on the festival circuit, actually had to be paid. Mr. O’Meara declined to say exactly how much each received, but all were paid the same, he said, and the amounts were “a pretty reasonable fee, above guild minimums.” Mr. -
Punks Don't Know Jack
Punks Don’t Know Jack This split CD from Cretin Records comes out of the gates with no holds barred punk rock. Defecation Area open the CD swinging with “Generation D.U.M.B.,” which while essentially generic 77’s punk does sound big. They remind me a little of ’90s NYC punks L.E.S. Stitches, who were one damn good band. The most off-putting thing to me about this track is that I’m really sick of punk rockers singing about how everything is dumb. They’re dumb or everyone else but them is dumb. Either way, songs about being dumb are stupid. I know, The Ramones did it with “Pinhead,” but guess what….you are not The Ramones. Defecation Area definitely hit big on the scorching “Slam Dance is Savage” and channel the Beach Boys via Social Distortion on “She Just Wanna Dance.” Defecation Area may mine ground that has been well traveled from the Dead Boys and 2 billion bands since, but they do it better than most! It’s good to see some studio recording finally making their way out for Tony Jones and The Cretin 3. They kick off their half of the disc with “Lady Frankenstein,” which has a strong Cramps undertone. The Cretin 3 essentially merge rockabilly and punk together and sprinkle some horror rock sensibility lyrically. “Bathroom Floor” really isn’t my bag. It doesn’t really rock and is too repetitive and the vocals kind of give me a migraine. Better is “Leather,” which borrows the guitar riff from Cheap Trick’s “He’s a Whore” and uses it to create a catching little ditty. -
Festival Guide 01 VENUE the Plaza Theatre (1133 Kensington Rd NW)
Festival Guide 01 www.calgaryundergroundfilm.com VENUE The Plaza Theatre (1133 Kensington Rd NW) www.theplaza.ca TICKETS $10 Regular Screenings $9 CJSW Members $8 CUFF Members, Students & Seniors $40 Punch Card (5 films) Lunch time! $100 Festival Pass (All films except Burlesque Assassins Fundraiser) Tickets available at the door. Come enjoy Advance tickets online or at Frosst Books (1018 – 9 Avenue SE). All evening screenings are licensed 18+ which means you Local’s new can drink beer during the film (!) but... no minors. menu today. Matinees are all ages. ........................... PARKING SPECIAL $2 evening & weekend rate at the VINCI Park parkade (100 - 10A Street NW - East of The Plaza next to Bernard Callebaut Chocolates). PARTIES Monday, April 11, 9:00 PM HILLBILLY BASH AFTER PARTY Molly Malone’s, 1153 Kensington Crescent NW Come join us for a party following Tucker & Dale Vs. Evil with drinks, food and good times! Director Eli Craig, cast and crew in attendance at both the screening and the after party. Thursday, April 14, 6:15 PM SHOW UP & SHIP OUT WITH THE SHIP & ANCHOR Ship & Anchor, 534 17th Avenue SW $20 (tickets available only at The Ship) Bus leaves from The Ship for The Plaza Theatre to see the movie Everyday Sunshine (P. 14) at 6:15 PM sharp & returns after the movie for a FREE drink & guaranteed entrance to the FISHBONE CONCERT! The full band will be in attendance for a Q&A after the screening. Sunday, April 17, 9:00 PM 48-HOUR MOVIE MAKING CHALLENGE AFTER PARTY Molly Malone’s, 1153 Kensington Crescent NW Please join