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MARK STEEL PRODUCTION DESIGNER TELEVISION THE UMBRELLA ACADEMY Dark Horse/Netflix Prod: Gabriel Ba, Keith Goldberg, Gerard Way Dir: Steve Blackman (Seasons 1-2) (Production Designer) *Nominated – Emmy Award for Outstanding Production Design for A Narrative Contemporary Program, 2019 *Nominated for Best Production Design – Dramatic Series, DGC Awards 2019 WHAT WE DO IN THE SHADOWS Defender Films/FX Prod: Hartley Gorenstein, Joanne Toll Dir: Taika Waititi (Season 1) (Art Director) *World Premiere – Episodic Premieres – SXSW, 2019 STAR TREK: DISCOVERY CBS Prod: Bryan Fuller, Alex Kurtzman Dir: Douglas Aarniokoski (S1 EP 6) (Production Designer) STAR TREK: DISCOVERY CBS Prod: Bryan Fuller, Alex Kurtzman Dir: Various (Season 1) (Art Director) HEROES REBORN Tailwind/NBC Prod: Peter Elkoff, Tim Kring, James Middleton Dir: Various (Season 1) (Art Director) BEAUTY AND THE BEAST Take 5/The CW Prod: Sherri Cooper-Landsman, Ron Koslow, Dir: Various (Season 3) (Art Director) Jennifer Levin CLEMENTINE (MOW) (Art Director) ABC Prod: Robert D. Simon Dir: Michael Dinner LUCKY 7 (Season 1) (Art Director) ABC Prod: David Zabel, Kay Mellor, Jason Richman Dir: Various ALPHAS (Seasons 2 & 3) (Art Director) BermanBraun/Syfy Prod: Michael Karnow, Zak Penn Dir: Various SATISFACTION (Pilot) (Art Director) DHX/CTV Prod: Kevin Lafferty Dir: Steve Wright REPUBLIC OF DOYLE CBC Prod: John Vatcher, Rob Blackie, Pery Chafe, Dir: Various (Season 2) (Art Director) Michael Levine UNNATURAL HISTORY Warner Horizon Television/ Prod: Michael Kessler, Mike Werb, Dir: Various (Season 1) (Art Director) Cartoon Network Michael Colleary AARON STONE (Season 1) (Art Director) Disney XD Prod: David Hoge, Dan Cross, Suzanne French Dir: Various BEAUTIFUL PEOPLE 34 Films/ Prod: Drew Matich, Michael Rauch, John Ryan Dir: Various (Season 1) (Set Decorator) Sony Pictures Television THE MUSIC MAN Storyline Entertainment/ Prod: John M. Eckert Dir: Jeff Bleckner (MOW) (Assistant Decorator) ABC FEATURES MISS SLOANE (Art Director) EuropaCorp USA Prod: Ben Browning, Kris Thykier, Dir: John Madden Ariel Zeitoun THE F WORD/WHAT IF (Art Director) Entertainment One Prod: David Gross, Macdara Kelleher, Dir: Michael Dowse Andre Rouleau ANTIVIRAL (Art Director) IFC Films Prod: Niv Fichman Dir: Brandon Cronenberg A HOME AT THE END OF THE WORLD Warner Independent Prod: John Hart, Tom Hulce, Pamela Koffler, Dir: Michael Mayer (Set Decorator) Pictures (WIP) Katie Roumel MY BABY DADDY (Set Decorator) Miramax Prod: Eddie Griffin, Happy Walters, Dir: Cheryl Dunye Matt Weaver 405 S Beverly Drive, Beverly Hills, California 90212 - T 310.888.4200 - F 310.888.4242 www.apa-agency.com .

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Terra Nova, an Experiment in Creating Cult Televison for a Mass Audience
Syracuse University SURFACE S.I. Newhouse School of Public Media Studies - Theses Communications 8-2012 Terra Nova, An Experiment in Creating Cult Televison for a Mass Audience Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/ms_thesis Part of the Film and Media Studies Commons, and the Mass Communication Commons Recommended Citation Osur, Laura, "Terra Nova, An Experiment in Creating Cult Televison for a Mass Audience" (2012). Media Studies - Theses. 5. https://surface.syr.edu/ms_thesis/5 This Thesis is brought to you for free and open access by the S.I. Newhouse School of Public Communications at SURFACE. It has been accepted for inclusion in Media Studies - Theses by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When it aired in Fall 2011 on Fox, Terra Nova was an experiment in creating a cult television program that appealed to a mass audience. This thesis is a case study of that experiment. I conclude that the show failed because of its attempts to maintain the sophistication, complexity and innovative nature of the cult genre while simultaneously employing an overly simplistic narrative structure that resembles that of mass audience programming. Terra Nova was unique in its transmedia approach to marketing and storytelling, its advanced special effects, and its dystopian speculative fiction premise. Terra Nova’s narrative, on the other hand, presented a nostalgically simple moralistic landscape that upheld old-fashioned ideologies and felt oddly retro to the modern SF TV audience. Terra Nova’s failure suggests that a cult show made for this type of broad audience is impossible.
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UNIT 4 CINEMA the Cinema, Like the Detective Story, Makes It Possible To
UNIT 4 CINEMA The cinema, like the detective story, makes it possible to experience without danger all the excitement, passion and desirousness which must be repressed in a humanitarian ordering of life. Carl Jung Before you start doing the main activities of this unit, brush up on active vocabulary to the topic. Exercise 1. Answer t:e following questions: 1. Do you like watching films? Why? / Why not? How often do you… a) go to the cinema, b) rent DVDs, c) buy DVDs, d) watch films on TV? 2. What’s your favourite film? Why do you like it? Who stars in it? Who directed it? How many times have you seen it? Does it hold any special memories for you? Can you tell the plot in thirty seconds? What genre(s) of films do you a) love, b) hate? Why 3. Have you got a video camera? What do you use it for? Why do people make home movies? Which is more special, a home movie or a photo? Why? 4. Would you like to work in the film industry? Why? / Why not? Which job(s) do you think are the most rewarding? Why? Do you prefer to watch films made in your country, or Hollywood movies? Why? 5. Have you ever downloaded a film from the internet – either legally or illegally? How do you prefer to watch films, and why? Have you ever watched a film on… a) a plasma TV, b) a very large IMAX screen, c) an iPod? Compare these experiences to watching films on a normal TV.
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228 Hannibal, Seasons
The Irish Journal of Gothic and Horror Studies 16 (Autumn 2017) Hannibal, Seasons 1-3 (NBC, 2012-15) The TV series Hannibal was developed by Bryan Fuller and aired on NBC from April 2013 to August 2015. Unfortunately, the series was cancelled after Season 3 due to falling ratings, although it is now available on DVD and Netflix (and there are rumours that the show may be resurrected in the near future).1 Hannibal focuses on the character that first made his fictional debut in Thomas Harris’s Red Dragon (1981) and went on to appear in the novels The Silence of the Lambs (1988), Hannibal (1999), and Hannibal Rising (2006). Dr Hannibal Lecter then attained even wider fame via the novels’ five cinematic adaptations. Lecter (played here by Mads Mikkelsen) is a brilliant, elegant, and refined psychiatrist and an exceptional cook, with a gorgeous office and a polished, almost sterile house in Baltimore. The series functions as a prequel to the books and four of the films: Hannibal collaborates with the FBI in order to help capture serial killers, but he is himself a manipulative and sadistic murderer who cannibalises his victims’ organs. Hannibal is therefore a therapist who can dissect not only the minds of his patients and adversaries, but also the tissues of their very bodies.2 Each of the titles of almost every episode is the name of a dish, such as ‘Amuse Bouche’, ‘Mukozuke’, and ‘Antipasto’ (respectively in French, Japanese, and Italian). During the first two seasons, each episode largely consists of an investigation into the murders committed by a specific killer, although there are also a number of overarching storylines that span each season and portray the evolving relationships between the main characters.
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Starlog Magazine
mMMii < zzp-fimz'A 2oiti > -r;j^ scj^ai^ miftzmz INSIDE THIS ISSUE 23 DEATH: THE LIGHTER SIDE TV creator Bryan Fuller hands scythes to grinning Reapers 28 DOING LEGWORK Lovely Kristen Dalton reports on her days in The Dead zone 32 THE MADNESS OF MORPHEUS He whom the Matrix would destroy, they first make Laurence Fishburne 38 I'M WITH DONKEY Shrek, Fiona & pals amble into a new theme park attraction 42 SWASHBUCKLING STORIES Set sail with the cast & crew of Pirates of the Caribbean 46 PAINTED SEAS M Oscar winner Ralph Eggleston envisioned Nemo's colorful look 50 CRADLE OF LIFE Angelina Jolie leads the team to more Tomb Raider exploits 58 TERMINAL VISAGES Stan Winston unveils new images & familiar faces 60 LEAGUE OF ALTERATIONS En route to film, James Dale Robinson made lotsa changes 77 OF MUTANT WORDS X2 writers Michael Dougherty & Dan Harris unite for action J? Celebrate with Shrek and / 86 IT'S DYNA GIRL e Fiona. They're on Revealing her Saturday secret ; > their fairy-tale identity is Judy Strangis fl Br honeymoon—at Universal Studios Orlando (as well as NEXT ISSUE ON SALE Hollywood and Japan, SEPTEMBER 2 too). Let them eat cake! Join the party on page 38. STARLOC: science AFiction universe is published by starlog croup, inc., 475 Park Avenue South, New York, NY 10016. starloc and The Science Fiction The monthly Universe are registered trademarks of STARLOC GROUP, INC. (ISSN 0191-4626) (Canadian GST number: R-124704826) This is issue Number 314, September 2003. Content Is © Copyright 2003 by STARLOC CROUP, INC.
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Amazon Original Series American Gods Renewed for Season Two
Amazon Original Series American Gods Renewed for Season Two May 12, 2017 A second season of Neil Gaiman’s tale of mythological gods, starring Ricky Whittle and Ian McShane has been confirmed London – 12 May 2017 – Amazon today announced that the highly-acclaimed Amazon Original Series American Gods, which premiered on May 1st, has been renewed for a second season. Currently, American Gods is the most watched show in the UK on Prime Video. “We’re delighted to bring a second season of Neil Gaiman’s riveting story to fans across the globe,” said Tim Leslie, Vice President, International, Prime Video. “Audiences have responded overwhelmingly to season one – it is stunning entertainment unlike anything else and we can’t wait for the next series.” In Season one, viewers encountered a war brewing between Old Gods and New. The traditional Old Gods, with mythological roots from around the world, fear irrelevance as their believers die off or are seduced by the money, technology, and celebrity offered by the New Gods. Adapted from the award-winning novel by Neil Gaiman, American Gods stars Ricky Whittle (The 100, Austenland) as protagonist ex-con Shadow Moon, Ian McShane (Deadwood, Pirates of the Caribbean) as Mr. Wednesday, who enlists Shadow Moon as part of his cross-country mission, and Emily Browning (Sucker Punch, Legend) as Shadow’s wife, Laura Moon. American Gods Season one also features Gillian Anderson (The X-Files) as Media, the mouthpiece for the New Gods, Kristin Chenoweth (Pushing Daisies, Wicked) as Easter, Pablo Schreiber (13 Hours, Orange Is the New Black) as Mad Sweeney, and Yetide Badaki (Aquarius, Masters of Sex) as Bilquis.
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Executive Producer, Showrunner, Writer Ep 201)
FILMMAKER BIOGRAPHIES Season 2 JESSE ALEXANDER (EXECUTIVE PRODUCER, SHOWRUNNER, WRITER EP 201) Jesse Alexander serves as executive producer, writer and showrunner on Season 2 of Starz’s “American Gods,” based on Neil Gaiman’s award-winning novel. He recently served as co-executive producer on the first season of “Star Trek: Discovery,” garnering him a Hugo nomination for the episode "Magic to Make the Sanest Man Go Mad." Additional co-executive producer credits include Starz’s original series “Da Vinci’s Demons,” and the epic saga series “Heroes.” Alexander helped develop the pilot of ABC’s groundbreaking serial adventure “Lost,” serving as a co-executive producer through Season 1 and sharing the Emmy® Award for Outstanding Drama with his fellow “Lost” producers. As an executive producer and writer, Alexander’s credits include the critically acclaimed series “Hannibal” and “Alias” as well as the television movies The Saint and Day One, which he also created. He has also been an innovator in the field of transmedia storytelling — the process of extending narrative across multiple media platforms simultaneously. This strategy was critical to the success of “Alias” and “Lost.” The transmedia content he designed for “Heroes” established a new paradigm for how television shows can thrive cross-platform. In 2008, Alexander shared an Emmy® Award for the “Heroes” online content. An award-winning writer and producer of TV, movies, video games and comic books, Alexander has brought his vision of the cross-platform future of entertainment to MIT, Lucasfilm, NewTeeVee, Game Developers Conference, Microsoft Research, AFI, SMPTE, Ubisoft, USC, BBDO Energy, Netflix, Riot Games, FoxNext, Amazon, and others.
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Aestheticism, Evil, Homosexuality, and Hannibal : If Oscar Wilde Ate People Pdf, Epub, Ebook
AESTHETICISM, EVIL, HOMOSEXUALITY, AND HANNIBAL : IF OSCAR WILDE ATE PEOPLE PDF, EPUB, EBOOK Geoff Klock | 182 pages | 15 Oct 2019 | Lexington Books | 9781498548502 | English | Lanham, MD, United States Aestheticism, Evil, Homosexuality, and Hannibal : If Oscar Wilde Ate People PDF Book That is to say, in clearer terms, that a piece of media cannot be informed by aesthetic philosophies and be analyzed through the lenses of sexual, gender, or race identity. Find out more about your rights as a buyer - opens in a new window or tab and exceptions - opens in a new window or tab. His first book, La biblioteca di don Ferrante: Duello e onore nella cultura del Cinquecento , addresses the codes and values of chivalric science. Like Liked by 1 person. Topi, toponimi, tropi, cronotopi , won the Harvard edition of the Edinburgh Gadda Prize in In late 19th century England, Oscar Wilde popularized aestheticism, also known as art-for-art's-sake - the idea that art, that beauty, should not be a vehicle for morality or truth, but an end in-and-of-itself. This is my idea of a party. Art and popular culture. Her current book project addresses animals, education and contagion in medieval and early modern literature. Back to home page. Anonymous sent — i agree with what u said ab ableism but fanfic is suddenly having bad taste? Jan 15th 1, notes reblog. Jan 15th notes reblog. I majored in Information Technology instead and so many things that I stumbled over in this book are flaws in his argumentation, simply wrong interpretations or faulty observations.
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Twitter Communication Between BBC's Sherlock and NBC's
The Journal of Social Media in Society Spring 2019, Vol. 8, No. 1, Page 146-177 thejsms.org ‘Thanks, but it is more about interacting with fans for us’: Twitter Communication between BBC’s Sherlock and NBC’s Hannibal Fans and Producers Lauren A. Ebanks, Shirley Beresford, and Martina Topić* Leeds Business School, Leeds Beckett University, Leeds, UK, LS1 3HB *Corresponding Author: [email protected] This paper looked at online communication between and Commitment) were used to analyse producers of BBC’s show Sherlock and NBC’s show communication. The results show that two shows Hannibal with their fans. The main aim was to share many similarities but the main differences in investigate engagement of producers with fans on approach to communication come from the business social media and the use of accounts on social media, structure of two broadcasters, public versus e.g. whether TV shows interact with fans through commercial. Both shows also showed evidence of the use of the official network, a production company dialogic PR techniques, but BBC’s Sherlock also affiliated accounts or people involved with the show utilised elements of publicity. use their own accounts to communicate with fans. Kent and Taylor’s five features of dialogic public Keywords: BBC, NBC, Sherlock Holmes, relations (Mutuality, Propinquity, Empathy, Risk Hannibal, fandom, public relations andom is not new, as the first fan communities began to form during the 1960s and the first series to attract such activity was Star Trek (Bury, 2016). Booth (2010) thus defined a fan as “a person who invests time and energy into F thinking about or interacting with a media text: in other words, one who is enraptured by a particular extant media object” (p.
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University of Florida Thesis Or Dissertation Formatting
“YOU AND I HAVE BEGUN TO BLUR”: THE DOUBLE AND QUEER MONSTROSITY IN BRYAN FULLER’S HANNIBAL By MEGAN FOWLER A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2016 1 To Jackie Elliott, my fellow colleague who spent many an hour on her couch screaming about Hannibal with me. 2 ACKNOWLEDGMENTS I would like to thank the members of my supervisory committee Barbara Mennel and Kim Emery for their extraordinary guidance and mentorship. I would also like to thank my professors, colleagues and friends who continue to inspire me to think in new and creative ways. Finally, I would like to thank my parents Danny and Maureen Fowler for their love and support, without which I would not be where I am today. 3 TABLE OF CONTENTS page ACKNOWLEDGMENTS .................................................................................................. 3 LIST OF FIGURES .......................................................................................................... 5 ABSTRACT ..................................................................................................................... 7 1 INTRODUCTION .......................................................................................................... 9 2 “WAS HE SOME KIND OF QUEER?”: QUEER REPRESENTATION, HOMOSEXUAL PANIC, AND HOMOPHOBIA IN THOMAS HARRIS’S HANNIBAL LECTER SERIES ................................................................................. 11 3 “COULD
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Â€˜American Godsâ€™ Creators Tackle Religion As Starz Sticks with a Diverse Content Slate
â€˜American Godsâ€™ Creators Tackle Religion as Starz Sticks with a Diverse Content Slate 08.01.2016 American Gods Showrunner and Executive Producer Bryan Fuller was raised Catholic. Showrunner and Executive Producer Michael Green was raised Jewish. "It's hard not to recognize the power religion gives to people, and the inspiration in their daily lives," Fuller said during a Television Critics Association summer press tour panel about Starz's new series set to premiere in 2017. The two friends-who first worked together on Heroes and "have been talking for the last 10 years on how to get back into business together"-wanted to reinforce the positive aspects of faith. The series "manages to discuss religion in an inclusive way," Fuller said. American Gods, based on the novel by Neil Gaiman, shows mythological gods from around the world steadily losing believers to an upstart pantheon of gods reflecting society's modern love of money, technology, media, celebrity and drugs. RELATED: Starz' 'American Gods' Coming in 2017 Protagonist Shadow Moon (Ricky Whittle) is an ex-con who becomes the bodyguard and traveling partner to Mr. Wednesday (Ian McShane), who appears as a conman but is in reality one of the older gods, on a cross-country mission to gather his forces in preparation to battle the new deities. "Largely it's about forgotten myths, forgotten cultures â€¦ things prayed to quietly," Green said. In adopting the book for television, it was also about not "f-cking up" something so passionately loved by so many people. "But we are two of those people," Green said.
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Episode Guide
Episode Guide Episodes 001–041 Last episode aired Thursday January 07, 2021 www.cbs.com © © 2021 www.imdb.com © 2021 www.cbs.com © 2021 www.netflix.com © 2021 memory-alpha.org The summaries and recaps of all the Star Trek: Discovery episodes were downloaded from http://www.tv.com and http://www.cbs.com and http://www.netflix.com and http://memory-alpha.org and processed through a perl program to transform them in a LATEX ﬁle, for pretty printing. So, do not blame me for errors in the text ! This booklet was LATEXed on January 9, 2021 by footstep11 with create_eps_guide v0.65 Contents Season 1 1 1 The Vulcan Hello . .3 2 Battle at the Binary Stars . .7 3 Context Is for Kings . .9 4 The Butcher’s Knife Cares Not for the Lamb’s Cry . 15 5 Choose Your Pain . 19 6 Lethe............................................... 25 7 Magic to Make the Sanest Man Go Mad . 27 8 Si Vis Pacem, Para Bellum . 31 9 Into the Forest I Go . 33 10 Despite Yourself . 35 11 The Wolf Inside . 37 12 Vaulting Ambition . 39 13 What’s Past Is Prologue . 43 14 The War Without, The War Within . 45 15 Will You Take My Hand? . 49 Season 2 53 1 Brother . 55 2 New Eden . 59 3 Point of Light . 63 4 An Obol for Charon . 69 5 Saints of Imperfection . 75 6 The Sound of Thunder . 79 7 Light and Shadows . 85 8 If Memory Serves . 91 9 Project Daedalus . 99 10 The Red Angel . 107 11 Perpetual Inﬁnity .
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“Not Just Another Serial Killer Show: Hannibal, Complexity, and the Televisual Palimpsest”
1 “Not Just Another Serial Killer Show: Hannibal, Complexity, and the Televisual Palimpsest” Stacey Abbott University of Roehampton Department of Media Culture and Language, Southlands College, Roehampton Lane, London SW15 5SL [email protected] @StaceyAbbottRU Stacey Abbott is a Reader in Film and Television Studies at the University of Roehampton. She is the author of Undead Apocalypse: Vampires and Zombies in the 21st Century (2016), Celluloid Vampires (2007), Angel: TV Milestone (2009), co-author, with Lorna Jowett, of TV Horror: The Dark Side of the Small Screen (2012), and editor of The Cult TV Book (2010). She has written extensively about the horror genre on film and television and is currently writing a book on Kathryn Bigelow’s Near Dark. Thomas Harris’ Red Dragon (1981) introduced readers to the highly intelligent, articulate and cannibalistic serial killer Hannibal Lecter, albeit in his first outing restricted to his prison cell and serving as a reluctant consultant to the FBI profiler who captured him, Will Graham. The book was followed by three sequels in which Lecter takes an increasingly central place within the narrative: The Silence of the Lambs (1988), Hannibal (1999) and Hannibal Rising (2006). These novels have been source material for a total of five cinematic adaptations: Michael Mann’s Manhunter (1986), Jonathan Demme’s The Silence of the Lambs (1991), Ridley Scott’s 2 Hannibal (2001), Brett Ratner’s Red Dragon (2002), and the prequel Peter Webber’s Hannibal Rising (2007). According to Philip Jenkins, the influence of Harris’ books in the construction of the image of the modern serial killer within popular media was “vastly enhanced by the release of the film versions,” the success of which attracted many imitators with “some novels claim[ing] to be in the tradition of The Silence of the Lambs, or to have villains in the tradition of Hannibal Lecter” (1994, 89).
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