Using the Daily Show to Promote Media Literacy H
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
What Will It Take to Save Comedy Central?
What Will it Take to Save Comedy Central? 08.16.2016 Comedy Central's cancellation of The Nightly Show is the latest in a series of signals that all is not well at the network that was once the home of the country's sharpest political satire and news commentary. On Monday, Comedy Central announced that it was cancelling the show, which took Stephen Colbert's Colbert Report time slot in February 2015 when Colbert moved over to CBS' The Late Show. The move was not surprising considering the ratings: The Nightly Show is averaging a barely-there 0.2 among its key demographic of adults 18-49. RELATED: Comedy Central Cancels 'The Nightly Show' But The Nightly Show's failure to catch on is not the only problem at Comedy Central. Consider its late-night partner, The Daily Show, long the network's marquee program with host Jon Stewart. Stewart left the show just over a year ago and was replaced with South African comic Trevor Noah, who was hand-picked by Stewart. But despite Comedy Central's best efforts to reassure the media and audiences that Noah would eventually catch on, so far he hasn't. In May, The Wrap reported that The Daily Show had lost 38% of Stewart's audience among millennials aged 18-34 and 35% in households. And that comes at a time when the country is in the middle of a presidential election that lends itself extremely well to satire. It's also proven to be a mistake to let so much of its talent walk out the door, with Stephen Colbert going to CBS, John Oliver to HBO and Samantha Bee to TBS, taking much of Comedy Central's brand equity with them. -
Neil Postman
Five Things We Need to Know About Technological Change by Neil Postman Talk delivered in Denver Colorado March 28, 1998 … I doubt that the 21st century will pose for us problems that are more stunning, disorienting or complex than those we faced in this century, or the 19th, 18th, 17th, or for that matter, many of the centuries before that. But for those who are excessively nervous about the new millennium, I can provide, right at the start, some good advice about how to confront it. …. Here is what Henry David Thoreau told us: “All our inventions are but improved means to an unimproved end.” Here is what Goethe told us: “One should, each day, try to hear a little song, read a good poem, see a fine picture, and, if possible, speak a few reasonable words.” Socrates told us: “The unexamined life is not worth living.” Rabbi Hillel told us: “What is hateful to thee, do not do to another.” And here is the prophet Micah: “What does the Lord require of thee but to do justly, to love mercy and to walk humbly with thy God.” And I could say, if we had the time, (although you know it well enough) what Jesus, Isaiah, Mohammad, Spinoza, and Shakespeare told us. It is all the same: There is no escaping from ourselves. The human dilemma is as it has always been, and it is a delusion to believe that the technological changes of our era have rendered irrelevant the wisdom of the ages and the sages. Nonetheless, having said this, I know perfectly well that because we do live in a technological age, we have some special problems that Jesus, Hillel, Socrates, and Micah did not and could not speak of. -
Book Review: Amazing Ourselves to Death - Neil Postman’S Brave New World Revisited Lance E
L. E. Mason / Journal of Media Literacy Education 7 (1), 80 - 82 Available online at www.jmle.org The National Association for Media Literacy Education’s Journal of Media Literacy Education 7(1), 80 - 82 Book Review: Amazing Ourselves to Death - Neil Postman’s Brave New World Revisited Lance E. Mason Department of Education, Indiana University Amazing Ourselves to Death: Neil Postman’s Brave New World Revisited by Lance Strate. 2014. New York: Peter Lang. Media scholar Neil Postman wrote approximately 25 books during his career, the most influential of which was titled Amusing Ourselves to Death: Public Discourse in the Age of Show Business. In his book, Postman (1985) claims that the epistemology of television, which had become the dominant media form by the 1980s, had eroded the substance and coherence of public discourse, which increasingly took the form of entertainment. More recently, the media environment has undergone further dramatic changes with the emergence of the Internet, Web 2.0, and social media. Postman died in 2003, and while he continued to publish until shortly before his death, he never updated his most popular work to account for these changes. Postman’s former student, media ecologist Lance Strate, now takes up this task. His new book examines Postman’s positions in light of the contemporary media landscape. His goals are twofold: first, to summarize Postman’s positions and demonstrate their continued relevance; second, to present Postman’s approach to media analysis, which is grounded in the field that Postman originated, media ecology. As such, Strate adheres closely to Postman’s original ideas and carefully explicates them throughout each chapter. -
Plusminus Ver5frontace.Indd
[ + | - ] _SPATIAL INCUBATION OF INTUITIVE MITIGATION. by Christopher Cole Robertson A thesis submitted in partial fulfillment of the requirements for the degree of Master of Architecture in Architecture MONTANA STATE UNIVERSITY Bozeman, Montana November, 2007 ©COPYRIGHT by Christopher Cole Robertson 2007 All Rights Reserved ii APPROVAL of a thesis submitted by Christopher Cole Robertson This thesis has been read by each member of the thesis committee and has been found to be satisfactory regarding content, English usage, format, citation, bibliographic style, and consistency, and is ready for submission to the Division of Graduate Education. Michael Everts Approved for the Department Montana State University School of Architecture Steven Juroszek Approved for the Division of Graduate Education Dr. Carl A. Fox iii STATEMENT OF PERMISSION TO USE In presenting this thesis in partial fulfillment of the requirements for a master’s degree at Montana State University, I agree that the Library shall make it available to borrowers under rules of the Library. If I have indicated my intention to copyright this thesis by including a copyright notice page, copying is allowable only for scholarly purposes, consistent with “fair use” as prescribed in the U.S. Copyright Law. Requests for permission for extended quotation from or reproduction of this thesis in whole or in parts may be granted only by the copyright holder. Christopher Cole Robertson November, 2007 iv To my family and close friends. Thank you for your help. v TABLE OF CONTENTS 0. Introduction .................................................................... 5 1. Cultural Characteristics of Context ................................ 4 2. Examining Intuition ...................................................... 29 2.5 Tooling + Process ........................................................ 47 3. Spatial Incubation ......................................................... -
Media Syllabus
Sociology of Television & Media SOCL 299 Dr. Ellis Jones Fall 2010 Office: Beaven 221 TTH 12:30pm-1:45pm Office Hours: T 2:00pm-3:00pm Swords 302 TH 11:00am-12:00pm [email protected] Office Phone: 508-793-2367 I. OVERVIEW This course investigates the evolving role of television in shaping our understanding of, and relationship to, the world. Our inquiry will focus on the economic, political, social, and ecological implications of television as it relates to democracy, consumerism, human relationships, and how we make sense of the world both as individuals and as a society. More specifically, we’ll be examining the nature of entertainment, advertising, news, and the institutions that create television programming. How does the news shape reality? How does advertising actually influence human behavior? How does entertainment impact how we perceive our own lives? Who decides what program choices exist on television? The course will emphasize deep reading, critical thinking, a variety of audio/video materials, in-depth research, and the development of a resource- and skill-set that will allow you to further your critical consumption of television on your own. OBJECTIVES 1. Achieve a basic understanding of the national and global social transformation resulting from the evolution of television and related mass media. 2. Grasp the many complexities and contradictions that television and related mass media bring to our ability to distinguish the difference between fantasy and reality. 3. Gain the ability to think critically about the creation, distribution, and both intended and unintended consequences of television and related mass media on a macro and micro level. -
PC Is Back in South Park: Framing Social Issues Through Satire
Colloquy Vol. 12, Fall 2016, pp. 101-114 PC Is Back in South Park: Framing Social Issues through Satire Alex Dejean Abstract This study takes an extensive look at the television program South Park episode “Stunning and Brave.” There is limited research that explores the use of satire to create social discourse on concepts related to political correctness. I use framing theory as a primary variable to understand the messages “Stunning and Brave” attempts to convey. Framing theory originated from the theory of agenda setting. Agenda setting explains how media depictions affect how people think about the world. Framing is an aspect of agenda setting that details the organization and structure of a narrative or story. Framing is such an important variable to agenda setting that research on framing has become its own field of study. Existing literature of framing theory, comedy, and television has shown how audiences perceive issues once they have been exposed to media messages. The purpose of this research will review relevant literature explored in this area to examine satirical criticism on the social issue of political correctness. It seems almost unnecessary to point out the effect media has on us every day. Media is a broad term for the collective entities and structures through which messages are created and transmitted to an audience. As noted by Semmel (1983), “Almost everyone agrees that the mass media shape the world around us” (p. 718). The media tells us what life is or what we need for a better life. We have been bombarded with messages about what is better. -
As Writers of Film and Television and Members of the Writers Guild Of
July 20, 2021 As writers of film and television and members of the Writers Guild of America, East and Writers Guild of America West, we understand the critical importance of a union contract. We are proud to stand in support of the editorial staff at MSNBC who have chosen to organize with the Writers Guild of America, East. We welcome you to the Guild and the labor movement. We encourage everyone to vote YES in the upcoming election so you can get to the bargaining table to have a say in your future. We work in scripted television and film, including many projects produced by NBC Universal. Through our union membership we have been able to negotiate fair compensation, excellent benefits, and basic fairness at work—all of which are enshrined in our union contract. We are ready to support you in your effort to do the same. We’re all in this together. Vote Union YES! In solidarity and support, Megan Abbott (THE DEUCE) John Aboud (HOME ECONOMICS) Daniel Abraham (THE EXPANSE) David Abramowitz (CAGNEY AND LACEY; HIGHLANDER; DAUGHTER OF THE STREETS) Jay Abramowitz (FULL HOUSE; MR. BELVEDERE; THE PARKERS) Gayle Abrams (FASIER; GILMORE GIRLS; 8 SIMPLE RULES) Kristen Acimovic (THE OPPOSITION WITH JORDAN KLEEPER) Peter Ackerman (THINGS YOU SHOULDN'T SAY PAST MIDNIGHT; ICE AGE; THE AMERICANS) Joan Ackermann (ARLISS) 1 Ilunga Adell (SANFORD & SON; WATCH YOUR MOUTH; MY BROTHER & ME) Dayo Adesokan (SUPERSTORE; YOUNG & HUNGRY; DOWNWARD DOG) Jonathan Adler (THE TONIGHT SHOW STARRING JIMMY FALLON) Erik Agard (THE CHASE) Zaike Airey (SWEET TOOTH) Rory Albanese (THE DAILY SHOW WITH JON STEWART; THE NIGHTLY SHOW WITH LARRY WILMORE) Chris Albers (LATE NIGHT WITH CONAN O'BRIEN; BORGIA) Lisa Albert (MAD MEN; HALT AND CATCH FIRE; UNREAL) Jerome Albrecht (THE LOVE BOAT) Georgianna Aldaco (MIRACLE WORKERS) Robert Alden (STREETWALKIN') Richard Alfieri (SIX DANCE LESSONS IN SIX WEEKS) Stephanie Allain (DEAR WHITE PEOPLE) A.C. -
Politics of Parody
Bryant University Bryant Digital Repository English and Cultural Studies Faculty English and Cultural Studies Journal Articles Publications and Research Winter 2012 Live From New York, It's the Fake News! Saturday Night Live and the (Non)Politics of Parody Amber Day Bryant University Ethan Thompson Texas A & M University - Corpus Christi, [email protected] Follow this and additional works at: https://digitalcommons.bryant.edu/eng_jou Part of the Other Arts and Humanities Commons, Other Film and Media Studies Commons, and the Television Commons Recommended Citation Day, Amber and Thompson, Ethan, "Live From New York, It's the Fake News! Saturday Night Live and the (Non)Politics of Parody" (2012). English and Cultural Studies Journal Articles. Paper 44. https://digitalcommons.bryant.edu/eng_jou/44 This Article is brought to you for free and open access by the English and Cultural Studies Faculty Publications and Research at Bryant Digital Repository. It has been accepted for inclusion in English and Cultural Studies Journal Articles by an authorized administrator of Bryant Digital Repository. For more information, please contact [email protected]. 1 Live from New York, It’s the Fake News! Saturday Night Live and the (Non)Politics of Parody Amber Day Assistant Professor English and Cultural Studies Bryant University 401-952-3933 [email protected] Ethan Thompson Associate Professor Department of Communication Texas A&M University - Corpus Christi 361-876-5200 [email protected] 2 Abstract Though Saturday Night Live’s “Weekend Update” has become one of the most iconic of fake news programs, it is remarkably unfocused on either satiric critique or parody of particular news conventions. -
Viacomcbs Celebrates 66 Primetime Emmy Award Nominations
ViacomCBS Celebrates 66 Primetime Emmy Award Nominations July 14, 2021 CBS Television Network, CBS Studios and Paramount+ Score 35 Total Nominations Stephen Colbert’s The Late Show, The Election Night Special and Tooning Out the News Receive 9 Nominations, the Most of Any Late Night Brand ViacomCBS’ MTV Entertainment Group Earns 20 Nominations, Including First-Time Nominations for Paramount Network’s “Yellowstone” and MTV Documentary Films’ “76 Days” SHOWTIME® Receives Six Nominations, Including “Shameless” star William H. Macy for Outstanding Lead Actor In A Comedy Series LOS ANGELES--(BUSINESS WIRE)--Jul. 13, 2021-- ViacomCBS earned 66 Academy of Television Arts & Sciences 73rd Primetime Emmy Award nominations across its combined portfolio. CBS Television Network, CBS Studios and Paramount+ together received a total of 35 Primetime Emmy nominations. CBS’ “The Late Show with Stephen Colbert” – the #1 late night talk show on television – received five nominations, marking the series’ 18th Emmy nomination to date. CBS landed several nominations for talent and special programming, including “Oprah With Meghan And Harry: A CBS Primetime Special” and “John Lewis: Celebrating A Hero.” “The Pepsi Super Bowl LV Halftime Show Starring The Weeknd” and “The 63rd Annual Grammy Awards” also received multiple nods this year. For her starring role in “Mom,” Allison Janney was nominated for Outstanding Lead Actress in a Comedy Series. CBS Studios received 21 nominations, among them an Outstanding Competition Series nod for “The Amazing Race.” Short-form series “Carpool Karaoke: The Series” was also nominated. Paramount+, together with CBS Studios, picked up six nominations this season, including four nominations for “Star Trek: Discovery.” “Star Trek: Lower Decks'' and “Stephen Colbert Presents Tooning Out the News'' each received their first-ever Emmy nominations. -
Star Channels, Feb. 17-23
FEBRUARY 17 - 23, 2019 staradvertiser.com NOT-SO-FAKE NEWS John Oliver hosts a sixth season of HBO’s hard-hitting and hilarious newsmagazine Last Week Tonight with John Oliver. This unique mix of comedy and news is known for taking deep dives into important issues that are often overlooked by mainstream news outlets. This series has proven itself capable of infl uencing the political and cultural discourse, and Season 6 promises to shake things up even more. Premiering Sunday, Feb. 17, on HBO. WEEKLY NEWS UPDATE LIVE @ THE LEGISLATURE Join Senate and House leadership as they discuss upcoming legislation and issues of importance to the community. TUESDAY, 8:30AM | CHANNEL 49 | olelo.org/49 olelo.org ON THE COVER | LAST WEEK TONIGHT WITH JOHN OLIVER Oliver slays ‘Last Week Tonight’ is a perfect fit, and a mere three months after his stint as set his show apart from similar series in a few temporary host, it was announced that Oliver specific ways. Rather than rushing through a blend of news and humor would be creating a brand new show for the number of diverse topics, he chose to produce premium cable network. longer, more in-depth segments about issues By Kenneth Andeel In April 2014, “Last Week Tonight with John he and his writers felt strongly about. The fact TV Media Oliver” premiered, and in the time since its that “Last Week Tonight” is a weekly show also debut, the show has become a cultural touch- influenced its tone and content. Oliver and his hen John Oliver accepted corre- stone and a critical darling. -
Prudence and Racial Humor
Running Head: PRUDENCE AND RACIAL HUMOR Prudence and Racial Humor: Troubling Epithets Author: Jonathan P. Rossing Published in Critical Studies in Media Communication This is the author's manuscript of the article published in final edited form as: Rossing, Jonathan P. (2014). Prudence and Racial Humor: Troubling Epithets. Critical Studies in Media Communication, 31(4): 299 – 313. DOI: 10.1080/15295036.2013.864046 Prudence and Racial Humor 2 Prudence and Racial Humor: Troubling Epithets Abstract Prudence is an essential virtue in a contemporary racial culture marked by the contingencies and the paradoxical in/stability of race and racism. Recurring controversies surrounding racial epithets exemplify this clash between deeply entrenched racial meanings on one hand and shifting conventions on the other. I argue in this essay that racial humor presents a valuable site for understanding and practicing prudential reasoning and performance. Analyzing three episodes from popular texts—The Boondocks, The Daily Show with Jon Stewart, and South Park—I illustrate the way racial humor resists prescriptive reasoning and creates possibilities for audiences to practice prudence. Keywords: Race/Racism; Humor; Prudence; Boondocks; South Park; The Daily Show Prudence and Racial Humor 3 Prudence and Racial Humor: Troubling Epithets Racial culture demands prudence: practical knowledge necessary to make wise judgments and act responsibly in contingent circumstances. One word epitomizes the necessity of prudential reasoning in relation to race—nigger.1 Laden with a sordid history of oppression, this epithet consistently elicits visceral reactions and fuels anxieties about racism, and yet the epithet openly circulates in vernacular discourse and popular culture. The slur exemplifies the paradox of race: it dramatizes both the material consequences and the instability of racial constructions (Flores & Moon, 2002). -
Twenty Comic Masks
Twenty Comic Masks Which One are You? Comic Mask Real World Example 1 The Stand-Up Jerry Seinfeld, Amy Schumer 2 The Aggressor Bill Burr, Chelsea Handler, Jim Jefferies, Bill Hicks, Whitney Cummings, Chelsea Handler 3 The Sad Sack Richard Lewis, Rodney Dangerfield, Gary Shandling 4 The Druggie Rebel Sam Kinison, Sandra Bernhardt, Lenny Bruce, Kat Williams 5 The Intellectual Jon Stewart, John Hodgman, Woody Allen, Mitch Hedberg, Steven Wright 6 The Socio-Political Satirist Jon Stewart, George Carlin, Lewis Black, Chris Rock, Bill Maher 7 The Storyteller Bill Cosby, Louis CK, Kevin Hart, Richard Pryor 8 The Rube Larry the Cable Guy, Jeff Foxworthy, Ron White, Bill Engvall 9 The Old-Timer George Burns, Mrs. Hughes 10 The Ethnic Type George Lopez, Maz Jobrani, Aziz Ansari, Katt Williams 11 The Immigrant Ricky Gervais, Maureen Murphy, Craig Ferguson THE TEAM 12 Partners Smothers Brothers, Key & Peele, Penn & Teller 13 The Sketch Performer Key & Peele, Monty Python, Kids in the Hall 14 The Ventriloquist Jeff Dunham, Terry Fator, Triumph, The Insult Dog THE ACTORS 15 The Impersonator Terry Fator, Jim Carrey, Kevin Pollack, Frank Caliendo 16 The Artists, Musicians, Bo Burnham, Kevin Nealon, Cartoonists Zach Galifianakis, Jimmy Fallon 17 The Vaudevillian Penn & Teller, The Flying Karamazov Brothers (Other Jugglers, Magicians and acrobats) 18 The Improvisors Lily Tomlin, Jonathan Winters, Robin Williams 19 The Buffoon/The Airhead Andrew “Dice” Clay, Larry the Cable Guy, Rita Rudner 20 The Prop Comic Carrot Top, Gallagher, Do you fit into any of these categories? Maybe you’re so unique you are creating your own? Wouldn’t that be exciting! *Note: This is not a scientific study and some comedians can easily fit in multiple categories, this is just a guide and an example of character, persona and point of view through the ‘mask’ of the fictional character.