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Critically Acclaimed and Cancelled: FX's the Bridge, Channel As Brand and the Adaptation of Scripted TV Formats 2016-08-01
Repositorium für die Medienwissenschaft Michael L. Wayne Critically Acclaimed and Cancelled: FX's The Bridge, Channel as Brand and the Adaptation of Scripted TV Formats 2016-08-01 https://doi.org/10.25969/mediarep/14710 Veröffentlichungsversion / published version Zeitschriftenartikel / journal article Empfohlene Zitierung / Suggested Citation: Wayne, Michael L.: Critically Acclaimed and Cancelled: FX's The Bridge, Channel as Brand and the Adaptation of Scripted TV Formats. In: VIEW Journal of European Television History and Culture, Jg. 5 (2016-08-01), Nr. 9, S. 116– 125. DOI: https://doi.org/10.25969/mediarep/14710. Erstmalig hier erschienen / Initial publication here: https://doi.org/10.18146/2213-0969.2016.jethc107 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Weitergabe unter gleichen Bedingungen 4.0 Attribution - Share Alike 4.0 License. For more information see: Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz http://creativecommons.org/licenses/by-sa/4.0 finden Sie hier: http://creativecommons.org/licenses/by-sa/4.0 volume 5 issue 9/2016 CRITICALLY ACCLAIMED AND CANCELLED FX’ S THE BRIDGE, CHANNEL AS BRAND AND THE ADAPTATION OF SCRIPTED TV FORMATS Michael L. Wayne Ben-Gurion University of the Negev Department of Communication Studies POB 635, Beer-Sheva 8410501 Israel [email protected] Abstract: This article uses The Bridge (FX, 2013–2014), an adaptation of the Danish-Swedish series Broen/ Bron (SVT1/DR1, 2011-), to explore the ways in which the brand identities of channels shape the adaptation process for scripted television formats. -
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. -
Eddie Izzard Minnie Driver
EDDIE IZZARD MINNIE DRIVER It’s a wonderful lie. MONDAYS AT 10PM ET/PT ©2007 FX Networks LLC. All rights reserved. PREMIERES MARCH 12 ©2007 FX Networks LLC. All rights reserved. MONDAYS AT 10PM ET/PT PREMIERES MARCH 12 2 THE RICHES 20JEANNE VAN COTTKd_jFheZkYj_edCWdW][h 4 EDDIE IZZARDWi»MWod[CWbbeo¼%;n[Ykj_l[FheZkY[h 20AARON BLITZSTEINIjW\\Mh_j[h";f_ieZ[. 6 MINNIE DRIVERWi»:W^b_WCWbbeo¼ 21GWYNETH HORDER-PAYTON:_h[Yjeh";f_ieZ[* 8 SHANNON WOODWARDWi»:[^b_W^CWbbeo¼ 21 BRIAN KIRK:_h[Yjeh";f_ieZ[i+"- 9 NOEL FISHERWi»9W[bCWbbeo¼ 22 GUY FERLAND:_h[Yjeh";f_ieZ[, 10AIDAN MITCHELLWi»IWcCWbbeo¼ 22 DAN LERNER:_h[Yjeh";f_ieZ[. 11TODD STASHWICKWi»:Wb[CWbbeo¼ 23 MATT SHAKMAN:_h[Yjeh";f_ieZ[/ 12MARGO MARTINDALEWi»D_dW8khdi¼ 23 JEREMY PODESWA:_h[Yjeh";f_ieZ['& 13GREGG HENRYWi»>k]^FWd[jjW¼ 24 JAMIE BABBIT:_h[Yjeh";f_ieZ['' 14BRUCE FRENCHWi»@_c8khdi¼ 24 LESLIE LIBMAN:_h[Yjeh";f_ieZ['( 16 DMITRY LIPKIN 25MICHAEL NEGRIN:_h[Yjehe\F^eje]hWf^o 9h[Wjeh%;n[Ykj_l[FheZkY[h%Mh_j[h";f_ieZ[i'")"/"') 25DEVORAH HERBERTFheZkYj_ed:[i_]d[h 16 DAWN PRESTWICH ;n[Ykj_l[FheZkY[h%Mh_j[h";f_ieZ[i("*"'( 26WENDY WEIDMAN9Wij_d]:_h[Yjeh 16 NICOLE YORKIN ;n[Ykj_l[FheZkY[h%Mh_j[h";f_ieZ[i("*"'( 26REBECCA MANGIERI9Wij_d]:_h[Yjeh 17 MICHAEL ROSENBERG ;n[Ykj_l[FheZkY[h 26BARBARA FIORENTINO9Wij_d]:_h[Yjeh 17 PETER O’FALLON 27HARRY GREGSON-WILLIAMS9ecfei[h 9e#;n[Ykj_l[FheZkY[h%:_h[Yjeh";f_ieZ[i'"(")"') 28JOHN LANDGRAF 18 LYDIA WOODWARD 9edikbj_d]FheZkY[h%Mh_j[h";f_ieZ[i+"'' Fh[i_Z[djWdZ=[d[hWbCWdW][h"<ND[jmehai 18ELLIE HERMAN9edikbj_d]FheZkY[h%Mh_j[h";f_ieZ[i,"'& 29THE RICHES PRODUCTION CREDITS 19 IAIN PATERSONFheZkY[h 29RATING ADVISORY 19 KAT GOODSON7iieY_Wj[FheZkY[h 30FX FACT SHEET In The Riches, Eddie Izzard and Minnie Driver play ‘Wayne and Dahlia Malloy,’ Gypsy Travellers from rural Louisiana. -
FX Chief: Time Shifting Costs Us 40 Percent of Ad Revenue
FX Chief: Time Shifting Costs Us 40 Percent of Ad Revenue 01.14.2014 ​FX Networks CEO John Landgraf told the Television Critics Association winter press tour Tuesday that lost ad revenue do to time shifting and delayed viewing is the biggest challenge for TV right now, and one of the major factors driving the launch of its FXNow authenticated service. Landgraf estimated that FX loses as much as 40 percent of its ad revenue on some of their "most valuable" series. "We need to find new opportunities to mitigate those losses," he told the gathering. FXNow is the company's on-demand, ad-supported service that launched in December for customers of AT&T UVerse, Comcast XFinity, Midcontinent, Optimum, Suddenlink, and Wow!. It stocks a range of 21st Century Fox content, including films and shows from FX, FXX and FXM. "Sons of Anarchy," according to Landgraf, gets 5 million Live+7 viewers in the demo, but only 2 million who watch live. And only 3 million currently watch the ads on the show. FXNow "will allow us to rebuild our advertising business," he told the critics. FXNow is only available to about 50 percent of FX Networks subscribers, Landgraf said, because the relationship between cablers and MVPDs is "a complicated one." But he insisted they would keep negotiating to bring FXNow to all of their subscribers. Landgraf also raised the sticky subject of so-called stacking rights, or how many episodes of a current season are available for VOD or authenticated streaming. -
The Edison Project the Edison Project
THE EDISON PROJECT THE EDISON PROJECT Lead Authors: Erin Reilly, Jonathan Taplin, Francesca Marie Smith, Geoffrey Long, Henry Jenkins 18 Havas is the global The Annenberg Innovation research and innovation Lab is a high-energy, center within Havas. In fast-paced Think & Do the offices of Los Angeles, Tank in the Annenberg Seoul, Tel Aviv, Bogota School of Communication and Shanghai. 18 develops and Journalism at the research projects, strategic University of Southern partnerships, and business California. We define opportunities for Havas innovation as a social, and its client portfolio. collaborative process We work to be 18 months involving artists, scientists, ahead at the convergence of humanists and industry media, content, technology, professionals working and data science. We scout together on new problems new talent and startups, and opportunities raised by activate supporting technological and cultural academic research, develop change. Our mission actionable insights, and is to foster real-world facilitate deal-making innovation at the dynamic through local learning intersection of media and expeditions. culture. Copyright 2016. University of Southern California. All rights reserved. CONTENTS INTRODUCTION I ACKNOWLEDGEMENTS VI THE NEW METRICS + MEASUREMENT: 8 Erin Reilly THE NEW FUNDING + BUSINESS MODELS: 33 Jonathan Taplin and Anjuli Bedi THE NEW SCREENS 51 Francesca Marie Smith THE NEW CREATORS + MAKERS 69 Geoffrey Long, Rachel Joy Victor, Lisa Crawford, Malika Lim, and Juvenal Quiñones, with Ritesh Mehta and Anna Karina Samia CONCLUSION: IMAGINING POSSIBLE FUTURES 92 Henry Jenkins The Edison Project • I INTRODUCTION Thomas Edison invented both the phonograph and the kinetoscope more than 100 years ago. But the business of distributing music and movies hasn’t really changed that much in 100 years. -
94-732 — Managing Disruption in Media and Entertainment
Managing Disruption in Media and Entertainment: Syllabus Page 1 of 23 94-732 — Managing Disruption in Media and Entertainment Carnegie Mellon University Heinz College Spring 2021, Mini 4 Instructor: Michael D. Smith [email protected] Office Hours: I’ll make time to help you in any way I can. Feel free to email me ([email protected]) or my assistant Kristen Yeager ([email protected]) to setup a time to meet. Faculty Assistant: Kristen Yeager [email protected] Teaching Assistants: Section A: Shuxuan “Helen” Zeng ([email protected]), Hamburg Hall 3008 Section B: Yangfan Liang ([email protected]), Hamburg Hall 3002 Course Information: Section A Section B Guest Lectures TuTh 8:30-9:50 TuTh 10:10-11:30 TuTh 11:50-1:10 Zoom Link: https://cmu.zoom.us/j/99737299189?pwd=Yi8zZ1ROYWRMY002NE1tWjlTcUpaZz09 Meeting ID: 997 3729 9189 Passcode: 214151 Version: 3/21/21 Managing Disruption in Media and Entertainment: Syllabus Page 2 of 23 Zoom Policies and Expectations:1 As this class will be taught via Zoom, not in-person, I would like us to follow the following Zoom policies for the class: • Please have your video ‘on’ during the class. I have found that having the video on (allowing all of us to see each other) helps everyone feel more ‘connected’ to the other students and to the professor. If having your video on is a problem due to internet bandwidth constraints or due to some other technical issue, please notify me by e-mail or text before the class begins. • Please set your Zoom name to be your first name (or the name you would like to be referred to during the course) and your last name. -
The Netflix Effect: Impacts of the Streaming Model on Television Storytelling
Wesleyan University The Honors College The Netflix Effect: Impacts of the Streaming Model on Television Storytelling by Romil Sharma Class of 2016 A thesis submitted to the faculty of Wesleyan University in partial fulfillment of the requirements for the Degree of Bachelor of Arts with Departmental Honors from the College of Film and the Moving Image Middletown, Connecticut April, 2016 TABLE OF CONTENTS ACKNOWLEDGMENTS ………………………………………………….............…...... iii INTRODUCTION: NOW STREAMING ...................................................................... 1 1. THE TRAJECTORY OF TELEVISION................................................................... 8 VIEWER CHOICE ...................................................................................................... 8 DISTRIBUTION ........................................................................................................ 15 AUDIENCE FRAGMENTATION .................................................................................. 22 CREATIVE FREEDOM .............................................................................................. 26 SURVEILLANCE AND ANALYTICS ............................................................................. 33 GLOBAL REACH ..................................................................................................... 37 2. THE AESTHETIC TOOLBOX OF NETFLIX ........................................................ 43 EPISODE ONE ...................................................................................................... -
AMERICAN EXPERIENCE Presents Academy Award®-Nominated Film Last Days in Vietnam in Conjunction with 40Th Anniversary of the Fall of Saigon
AMERICAN EXPERIENCE Presents Academy Award®-Nominated Film Last Days in Vietnam in Conjunction with 40th Anniversary of the Fall of Saigon Premieres Tuesday, April 28, 2015 9:00-11:00 p.m. ET on PBS April 1975. During the chaotic final days of the Vietnam War, as the North Vietnamese Army closed in on Saigon, South Vietnamese resistance crumbled. City after city and village after village fell to the North while the few U.S. diplomats and military operatives still in the country contemplated withdrawal. With the lives of thousands of South Vietnamese hanging in the balance, those in control faced an impossible choice––who would go and who would be left behind to face brutality, imprisonment, or even death. AMERICAN EXPERIENCE presents the Academy Award®-nominated film Last Days in Vietnam, directed by Rory Kennedy, on Tuesday, April 28, 2015, 9:00-11:00 p.m. ET (check local listings) on PBS. Scheduled in conjunction with the 40th anniversary of the fall of Saigon, the broadcast will contain additional footage not seen during the film’s theatrical release. In 1973, the Paris Peace Accords had forged a tenuous ceasefire and limited U.S. military involvement to the presence of approximately six thousand non-combat troops and advisors. While President Nixon promised a swift military response should the North Vietnamese violate the agreement, his abrupt departure from the White House in late 1974 left in its wake a Congress unwilling to appropriate funds to Vietnam or put U.S. soldiers back in harm’s way. By early March 1975, huge swaths of territory were overrun daily by the North Vietnamese Army, and by the end of the month, they had surrounded the capital, preparing to launch their final assault on Saigon. -
The Blue Island Story" Came to Be
/835^/962 UNIVERSITY OF ItUf- "!•$ UBRARY AT Uiw- .*« CHAMPAIGN ILL. HIST. SURVEY «r ™ OF ?Y J Al AIGN IL.. vrtVEY Digitized by the Internet Archive in 2012 with funding from University of Illinois Urbana-Champaign http://archive.org/details/blueislandstoryhOOIion 'J I ^ i .._ THE } i *v u ^BlUE ISLAND ~ STORV r^ J-\ AN HISTORICAL REVIEW OF THE FIRST ONE HUNDRED AND TWENTY-SEVEN YEARS OUR CITY ON THE HILL OF BLUE ISLAND, ILLINOIS WRITTEN AND PUBLISHED AS PART OF THE 1962 FOURTH OF JULY CELEBRATION SPONSORED BY THE LIONS CLUB OF BLUE ISLAND FOREWORD How 'The Blue Island Story" Came To Be In planning the 1962 Fourth of July Celebration, the Lions Club of Blue Island has believed that part of its duty was to bring the history of our city up to date. Could we not look back and retell the story of our past? Could we not catch again that determination to conquer all obstacles, which has always marked our people? Could we not re-dedicate ourselves to the furtherance of that spirit which has brought us from a little pioneer village to our present prosperous city? Perhaps by studying again The Blue Island Story, and rewriting it for others to read, we might accomplish all these aims. Thus inspired, we have herein attempted to tell of our city's 127 years growth. Fortunately our committee has been able to lean heavily on the fine historical efforts of the late John H. Volp, who wrote "The First Hundred Years." This book not only presents invaluable source material, but also sets a standard of excellence which we hope we have met. -
Counting Our Blessings
WINTER 2021 ISSUE THE BedanRecord Counting Our Blessings SPECIAL SECTION CELEBRATION OF Philanthropy ANNUAL REPORT JULY 1, 2019-JUNE 30, 2020 COUNTING OUR BLESSINGS Despite the challenges of 2020, our St. Bede family is grateful. We are proud to share some of the year’s highlights. In January, the restroom renovation project was completed, providing both men's and women's restrooms on the first and second floor. THE PROMISE FOR THE FUTURE EMERGENCY FUND RAISED IN MAY, Dr. Ted Struck officially $83,929 retired and Eve Postula ’84 became our new TO ASSIST FAMILIES ESPECIALLY The St. Bede WYSE Team took 1st Place at Regionals for superintendent. IMPACTED BY COVID-19. the 4th year in a row. IN MARCH, St. Bede proudly held the our Bruins pivoted to 128th Commencement for the remote learning and Class of 2020 Abbey masses were with an in-person, live-streamed. outdoor ceremony. The St. Bede Lady Bruins basketball team brought the regional championship home to the Academy in February, their first regional championship in seven years. IN AUGUST, students celebrated traditional Spirit Day. International Boarders safely spent the summer on campus to attend the fall semester. We look forward to the completion of the new Baseball Announcers Booth in memory of Evan Knoblauch ’17. We thank all those who dedicated their time, talent, and treasure in 2020 to bring this project to fruition. IN SEPTEMBER, IN OCTOBER, Fr. Ronald Margherio, OSB ’68 Cross Country was held the first all-school, excited to compete outdoor mass as students and acknowledged returned to learn on campus the team with four days a week. -
Critically Acclaimed and Cancelled: FX's the Bridge, Cable Channel As
See discussions, stats, and author profiles for this publication at: https://www.researchgate.net/publication/305984347 Critically Acclaimed and Cancelled: FX’s The Bridge, Cable Channel as Brand, and the Adaptation of Scripted TV Formats Article · August 2016 DOI: 10.18146/2213-0969.%Y.160 CITATION READS 1 59 1 author: Michael L. Wayne Erasmus University Rotterdam 19 PUBLICATIONS 28 CITATIONS SEE PROFILE Some of the authors of this publication are also working on these related projects: Media and Social Class View project Television Industry Research View project All content following this page was uploaded by Michael L. Wayne on 12 August 2016. The user has requested enhancement of the downloaded file. volume 5 issue 9/2016 CRITICALLY ACCLAIMED AND CANCELLED FX’ S THE BRIDGE, CHANNEL AS BRAND AND THE ADAPTATION OF SCRIPTED TV FORMATS Michael L. Wayne Ben-Gurion University of the Negev Department of Communication Studies POB 635, Beer-Sheva 8410501 Israel [email protected] Abstract: This article uses The Bridge (FX, 2013–2014), an adaptation of the Danish-Swedish series Broen/ Bron (SVT1/DR1, 2011-), to explore the ways in which the brand identities of channels shape the adaptation process for scripted television formats. By situating The Bridge in the broader context of FX’s effort to maintain a coherent brand identity, the author argues that producers were not attempting to repurpose Broen/Bron’s narrative for the American audience. Rather, the network wanted to provide its traditionally young and masculine audience with another ‘muscular’ crime series while appealing to additional demographics in the hopes of expanding the channel’s overall viewership. -
WIDENER UNIVERSITY Center for Social Work Education SW410: Senior Integrative Seminar in Social Work1
Spring 2007 WIDENER UNIVERSITY Center for Social Work Education SW410: Senior Integrative Seminar in Social Work1 SYLLABUS Professor: Robin S. Goldberg-Glen, Ph.D. (610) 499-1149 [email protected] [email protected] Office: Robert Bruce Pavilion 2nd Floor Room 221 Walnut Street COURSE DESCRIPTION: This second of a two-semester integrative seminar will provide you with additional research skills by providing an opportunity to apply life story interview methods and related qualitative approaches to understanding human behavior and social work practice. The course assumes that qualitative social work research is suitable for examining the perspectives of individual, families, groups, and communities. Students enrolled in this course will be encouraged to link knowledge gleaned throughout their BSW training to life story research methods, ethnography, data collected and existing studies. A service learning experience will provide an opportunity to collect life story data. The central goal of this course will be to enhance your ability to develop knowledge & critique qualitative studies while at the same time recognize service learning and research’s relationship to your own professional and educational training in the field of social work. OBJECTIVES: 1. To acquaint students with qualitative research methods and qualitative research studies. B9 2. To explore ways social problems and human strengths are discovered through qualitative research methods including life story, narrative, ethnography, documentaries, and photography. B9 1 This course is open to 2nd semester senior year BSW students or with the permission of the program director or associate dean. Goldberg-Glen, 2007 1 Spring 2007 3. To encourage greater empathy and insights into human behavior and practice approaches through service learning, conducting qualitative research and critically examining qualitative research findings.