Project Report: Year 1 2012–2013
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Berea College Faculty and Staff Contributors
Berea College Honor Roll of Giving 2011-2012 Honor Roll of Giving The names of those captured in this Honor Roll have done something remarkable—these people have changed lives. By giving to Berea College, these generous women and men have made possible a host of educational opportunities for Berea students. As I reflect upon these names, I think how inspiring it is to have thousands of different people come together on an annual basis for one cause—to support the mission of Berea College. From alumni, to friends of Berea, to foundations and corporations, the Berea story would not be complete without those you see listed here. These great people saw something in our students and our mission. They saw possibility and promise. Not only that, they acted, giving selflessly to help others. We are grateful for their generosity, compassion, and steadfast belief in our students’ potential. Berea students are extraordinary in so many ways. Limited only by their financial need, Berea students go on to do great work in countless ways. See some of their incredible stories here http://www.berea.edu/give-to-berea/now-more-than-ever/. Our sincere thanks go out to all those who help make this possible. Sincerely, Michelle L. Janssen, CFRE Vice President for Alumni and College Relations Greeting • 2011-2012 2 Honor Roll of Giving Honor Roll of Giving Contents You can scroll to the page you seek or click on the section title and go Berea College 2011-2012 directly to the page. Return-to-contents links are on every page. -
25 Years of Eastenders – but Who Is the Best Loved Character? Submitted By: 10 Yetis PR and Marketing Wednesday, 17 February 2010
25 years of Eastenders – but who is the best loved character? Submitted by: 10 Yetis PR and Marketing Wednesday, 17 February 2010 More than 2,300 members of the public were asked to vote for the Eastenders character they’d most like to share a takeaway with – with Alfie Moon, played by actor Shane Ritchie, topping the list of most loved characters. Janine Butcher is the most hated character from the last 25 years, with three quarters of the public admitting they disliked her. Friday marks the 25th anniversary of popular British soap Eastenders, with a half hour live special episode. To commemorate the occasion, the UK’s leading takeaway website www.Just-Eat.co.uk (http://www.just-eat.co.uk) asked 2,310 members of the public to list the character they’d most like to ‘have a takeaway with’, in the style of the age old ‘who would you invite to a dinner party’ question. When asked the multi-answer question, “Which Eastenders characters from the last 25 years would you most like to share a takeaway meal with?’, Shane Richie’s Alfie Moon, who first appeared in 2002 topped the poll with 42% of votes. The study was entirely hypothetical, and as such included characters which may no longer be alive. Wellard, primarily owned by Robbie Jackson and Gus Smith was introduced to the show in 1994, and ranked as the 5th most popular character to share a takeaway with. 1.Alfie Moon – 42% 2.Kat Slater – 36% 3.Nigel Bates – 34% 4.Grant Mitchell – 33% 5.Wellard the Dog – 30% 6.Peggy Mitchell – 29% 7.Arthur Fowler – 26% 8.Dot Cotton – 25% 9.Ethyl Skinner – 22% 10.Pat Butcher – 20% The poll also asked respondents to list the characters they loved to hate, with Janine Butcher, who has been portrayed by Rebecca Michael, Alexia Demetriou and most recently Charlie Brooks topping the list of the soaps most hated, with nearly three quarters of the public saying listing her as their least favourite character. -
Report Title Here Month Here
Alcohol & Soaps Drinkaware Media Analysis September 2010 © 2010 Kantar Media 1 CONTENTS •Introduction 3 •Executive Summary 5 •Topline results 7 •Coronation Street 16 •Eastenders 23 •Emmerdale 30 •Hollyoaks 37 •Appendix 44 Please use hyperlinks to quickly navigate this document. © 2010 Kantar Media 2 INTRODUCTION •Kantar Media Precis was commissioned to conduct research to analyse the portrayal of alcohol and tea in the four top British soap operas aired on non-satellite television, Coronation Street, Eastenders, Emmerdale and Hollyoaks. The research objectives were as follows: •To explore the frequency of alcohol use on British soaps aired on non-satellite UK television •To investigate the positive and negative portrayal of alcohol •To explore the percentage of interactions that involve alcohol •To explore the percentage of each episode that involves alcohol •To assess how many characters drink over daily guidelines •To explore the relationship between alcohol and the characters who regularly/excessively consume alcohol •To look further into the link between the location of alcohol consumption and the consequences depicted •To identify and analyse the repercussions, if any, of excessive alcohol consumption shown •To explore the frequency of tea use on British soaps aired on non-satellite UK television •Six weeks of footage was collected for each programme from 26th July to 6th September 2010 and analysed for verbal and visual instances of alcohol and tea. •In total 21.5 hours was collected and analysed for Emmerdale, 15.5 hours for Coronation Street, 15.5 hours for Hollyoaks and 13 hours for Eastenders. © 2010 Kantar Media 3 INTRODUCTION cont. •A coding sheet was formulated in conjunction with Drinkaware before the footage was analysed which enabled us to track different types of beverages and their size (e.g. -
Culture, Media and Sport Looking at How the Tony Mcenery Games of 2012 A!Ected Media Reporting and the English Language in General
CULTURE, MEDIA & SPORT 104 ONLINE BEHAVIOUR 108 OPINION: Olympic linguistics 109 MEDIA REPRESENTATIONS 109 ACCENTS 110 PERFORMANCE 112 MIGRATION 112 ONLINE CONTENT 113 BAD SOCIAL MEDIA 114 ASPIRATIONS 115 DATING SCAMS 116 OPINION: Age discrimination 117 FIGURES: Broadcasting The SAVAGE ARENA Cases of disturbing online behaviour dominate the headlines. But why does the internet bring out the dark side in some, asks Dr Claire Hardaker? h IS B COR 104 BRITAIN IN 2014 FEATURE | CULTURE, MEDIA & SPORT 104 BRITAIN IN 2014 BRITAIN IN 2014 105 CULTURE, MEDIA & SPORT | FEATURE he internet has brought a new era of invisibility for self-protection. For instance, Perseus uses communication. It is a gateway to his helm to escape the Gorgons, Harry frequently uses unparalleled resources of education his cloak to hide from teachers, and Dracula shields himself and entertainment, but in recent to avoid being hunted down. In other words, invisibility years, disturbing online behaviours offers the opportunity of going somewhere unauthorised, such as cyberbullying and trolling or doing something unpleasant while minimising the risks have become more common. In of suffering any consequences. some instances, those carrying out the attacks have been so persistent INVISIBILITY AND DETACHMENT and cruel that they have driven their targets to move homes, When we return to the internet, we find a very similar effect jobs, or schools, to self-harm, and even to commit suicide. So known as disinhibition: while using a computer, we think Twhy does the internet bring out the worst in some people? we are shielded by anonymity (as though it were a cloak of For a start, the internet offers a perceived anonymity invisibility) that will keep us safe from the repercussions of that has no real parallel offline. -
Older People, Sexualities and Soap Operas: Representations of Lesbian
Middlesex University Research Repository An open access repository of Middlesex University research http://eprints.mdx.ac.uk Humberstone, Nicola (2010) Older people, sexualities and soap operas: representations of lesbian, gay, bisexual sexualities and transgender identity in television soap operas, and older audiences’ responses. PhD thesis, Middlesex University. [Thesis] This version is available at: https://eprints.mdx.ac.uk/6517/ Copyright: Middlesex University Research Repository makes the University’s research available electronically. Copyright and moral rights to this work are retained by the author and/or other copyright owners unless otherwise stated. The work is supplied on the understanding that any use for commercial gain is strictly forbidden. A copy may be downloaded for personal, non-commercial, research or study without prior permission and without charge. Works, including theses and research projects, may not be reproduced in any format or medium, or extensive quotations taken from them, or their content changed in any way, without first obtaining permission in writing from the copyright holder(s). They may not be sold or exploited commercially in any format or medium without the prior written permission of the copyright holder(s). Full bibliographic details must be given when referring to, or quoting from full items including the author’s name, the title of the work, publication details where relevant (place, publisher, date), pag- ination, and for theses or dissertations the awarding institution, the degree type awarded, and the date of the award. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Middlesex University via the following email address: [email protected] The item will be removed from the repository while any claim is being investigated. -
Thesis Final Draft.Pages
CORE Metadata, citation and similar papers at core.ac.uk Provided by Glasgow Theses Service Bell, Stuart (2016) "Don't Stop": Re-Thinking the Function of Endings in Narrative Television. PhD thesis http://theses.gla.ac.uk/7282/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] “Don’t Stop…” Re-thinking the Function of Endings in Narrative Television Stuart Bell (MA, MLitt) Submitted in fulfilment for the requirements for the degree of Doctor Of Philosophy School of Culture and Creative Arts College of Arts University of Glasgow November 2015 (c) Stuart Bell, November 2015 !1 Abstract “Don’t Stop…” Re-thinking the Function of Endings in Television This thesis argues that the study of narrative television has been limited by an adherence to accepted and commonplace conceptions of endings as derived from literary theory, particularly a preoccupation with the terminus of the text as the ultimate site of cohesion, structure, and meaning. Such common conceptions of endings, this thesis argues, are largely incompatible with the realities of television’s production and reception, and as a result the study of endings in television needs to be re-thought to pay attention to the specificities of the medium. -
Amy Oliver Email : [email protected]
Amy Oliver Email : [email protected] 11th March 2010 Dear Amy Oliver, Freedom of Information request – RFI20100300 Thank you for your request to the BBC of 26th February 2010, seeking the following information under the Freedom of Information Act 2000: 1. How much was the final technical budget for the live version of Eastenders on Friday February 19 2010 and did the actual event exceed this? 2. How many cameras were used to film the live version of Eastenders on Friday February 19 2010? 3. How many crew members were there involved on the live version of Eastenders on Friday February 19 2010? 3. How much were the artists' fees for the live version of Eastenders on Friday February 19 2010. 4. Were the artists' fees higher for the live version of Eastenders on February 19 2010 than they are for regular episodes? 5. Please provide a breakdown of the following artists fees for the live version of Eastenders: Peggy Mitchell - Barbara Windsor Jack Branning - Scott Maslen Ronnie Mitchell - Samantha Womack Stacey Slater - Lacey Turner Janine Butcher - Charlie Brookes Max Branning - Jake Wood Bradley Branning - Charlie Clements Ian Beale - Adam Woodyatt Phil Mitchell - Steve McFadden 6. How much did the after/wrap party cost following the live version of Eastenders on February 19 2010? 7. What is the per episode cost of a regular episode of Eastenders. 8. How much did the live version of Eastenders on February 19 2010 cost the licence fee payer in total? The information you have requested in questions numbered 1-5, 7 and 8 are excluded from the Act because it is held for the purposes of ‘journalism, art or literature.’ The BBC is therefore not obliged to provide this information to you and will not be doing so on this occasion. -
Tv Medical Dramas: Health Care As Soap Opera
TV MEDICAL DRAMAS: HEALTH CARE AS SOAP OPERA LESLEY HENDERSON ‘Medicine is drama, doctors are human, and patients are trouble or troubled’.1 he medical drama occupies an extraordinary position in contemporary Ttelevision. The format attracts multiple awards (ER became the most nominated series in TV history, earning 122 Emmy nominations and 22 Awards) and breaks new ground in television aesthetics (St Elsewhere popularised pedeconferencing – the ‘walk and talk’ tracking shot to signify the supposedly frenetic pace of hospital life). The genre is economically important, too, as medical dramas consistently attract large audiences with ‘gold dust’ demographics for advertisers – the notoriously elusive 18-49 years. These programmes deliver high drama but also convey important messages about health and illness, often highlighting political issues which are neglected in television news and documentary formats. Thus the humanitarian crisis in the Darfur region of Sudan – underreported by the US news media – was brought to ER viewers through characters Dr John Carter and Dr Gregory Pratt, who were depicted working in a refugee camp trying to protect their patients from the Janjaweed militia (series 12, 2006). As these fictional scenes were being transmitted to global audiences, George Clooney – formerly ER’s Dr Doug Ross – spoke out at public rallies to stimulate support for American intervention in Darfur, thus blurring the lines between drama and the material world still further.2 Shows such as House MD are dissected in meticulous detail by fans and medical professionals on websites filled with endless analysis of the plausibility of plot and procedure.3 The medical drama is a commercial product that not only reflects our socio-cultural and economic environment but also illuminates wider changes in broadcasting culture. -
Cockney Slang
Cockney Slang From watching Ronnie Barker or visiting London, many residents would have heard of the cockney slang! Nowadays not many people use London’s Eastend slang, nether the less we can still enjoy these rhymes. Phrases Meaning Donkey’s ears Years Ruby Murray Curry Tom and dick Sick Rosy lea Tea Jack Jones Alone Dog and bone Phone Can you Adam and Eve it Believe it Trouble and strife The wife What to do Kettle and Hob Watch Barnet Fair Hair Bull and cow Row Read out the cockney slang and Weasel and Stoat Coat see if the residents can guess Pen and Ink Stink the phrase. Mince pies Eyes Bird lime Time (in prison) This can be a quiz in your coffee Adam and Eve Believe mornings or on a one to one Battle cruiser Boozer basis. Bob Hope Soap Ascot Races Braces Baker’s Dozen Cousin Watch Custard and jelly Telly Mr Lucky Adrian Mole Dole Eastenders Cain and Able Table The Two Ronnies Hampstead Heath Teeth Call the midwife Trouble and Strife Wife Bricks and Mortar Daughter Tea Leaf Thief Bees and Honey Money EastEnders Pub Burton on Trent Rent Half Inch Pinch Quiz Ball of Chalk Walk Cherry Ripe ┬áPipe Set up your own Queen Vic. Almond Rocks Socks Dicky Dirt Shirt Ask a resident to dress up as Frog and Toad Road Peggy Mitchell the barmaid. How d’ya Dos Shoes Peggy Mitchells catchphrase Westminster Abbey Shabby was “Get out my pub.” Bushel and Peck Neck Two Thirty Dirty Purchase different beers, pub Pen and Ink Stink snacks and coasters. -
Magazine Media
APRIL 2010: THE HUMOUR ISSUE M M MediaMagazine edia agazine english and media centre Missue 32 | april 2010 M Eminem – hip-hop’s Lord of Misrule? english and media centre Comedy timeline Suits you sir – the sketch show Postmodernism – can it be funny? | issue 32 | april 2010 Laughing all over the world The appeals of cult comedy MM MM MediaMagazine is published by the English and Media Centre, a non-profit making organisation. editorial The Centre publishes a wide range of classroom materials and runs Here’s a little ray of sunshine to light your way through to the exams with our courses for teachers. If you’re special humour issue. studying English at A Level, look out for emagazine, also published by Comedy is a peculiar and subjective phenomenon; and we’ve been fascinated by the Centre. the range of texts you’ve unearthed, from the unexpected humour to be found in Eminem and Lily Allen, through the superheroics of The Misfits, to the postmodern The English and Media Centre 18 Compton Terrace ironies of the Inbetweeners, Boosh, and Nathan Barley. It’s intriguing to see how TV London N1 2UN sitcom works – and what flops – on either side of the Atlantic, and to explore a case Telephone: 020 7359 8080 study of Studio 60 on the Sunset Strip, a US comedy that should have worked but didn’t. For budding Fax: 020 7354 0133 comedy writers, Ian Pike describes the art of sketch-writing. Email for subscription enquiries: Of course, some of the most interesting humour often has a disturbing edge, as highlighted in [email protected] articles on the mysogyny of Borat and Bruno, and the potential impact of the representations of body Managing Editor: Michael Simons image used for entertainment. -
1 Beliefs in Society Introduction a Belief Is Something That a Person Holds to Be True
1 Beliefs in society Introduction A belief is something that a person holds to be true. It may be a conviction that the world is flat or that the world is round. It may be a conviction that human beings were created by a supernatural power or that they evolved from other organisms by a process of natural selection. This chapter looks at sociological explanations for beliefs. It is concerned with beliefs held by large numbers of people - hence the title Beliefs in Society. It starts from a standard sociological approach that many beliefs are shared, they are learned as part of society’s culture, and just as culture varies from society to society, so do beliefs. Religious beliefs form the main focus of the chapter. Beliefs based on science and ideology are also considered. Over two million Muslim pilgrims gather in Mecca to perform In each case, sociologists argue that beliefs are formed in the annual hajj ceremony. Islam is now the world’s second social contexts, that they are socially constructed. largest and fastest growing religion. chaptersummary Unit 1 looks at the social construction of science. New Religious Movements. M M Unit 2 outlines theories of ideology. Unit 6 looks at explanations of the relationship between M Unit 3 examines sociological theories of religion. religious beliefs, religious organisations and social groups. M Unit 7 investigates the secularisation debate – whether Unit 4 assesses the role of religion, both as a M M conservative force which maintains things the way they or not societies are becoming increasingly secular or are and as a radical force which encourages social change. -
Media Pstchology
MEDIA PSYCHOLOGY David Giles MEDIA PSYCHOLOGY David Giles Coventry University LAWRENCE ERLBAUM ASSOCIATES, PUBLISHERS 2003 Mahwah, New Jersey London Copyright Ó 2003 by Lawrence Erlbaum Associates, Inc. All rights reserved. No part of this book may be reproduced in any form, by photostat, microform, retrieval system, or any other means, without the prior written permission of the publisher. Lawrence Erlbaum Associates, Inc., Publishers 10 Industrial Avenue Mahwah, New Jersey 07430 Cover design by Kathryn Houghtaling Lacey Library of Congress Cataloging-in-Publication Data Media psychology by David Giles. ISBN 0-8058-4048-6 (cloth : alk. paper); 0-8058-4049-4 (pbk. : alk. paper). Copyright information for this volume can be obtained by contacting the Library of Congress. Books published by Lawrence Erlbaum Associates are printed on acid-free paper, and their bindings are chosen for strength and durability. Printed in the United States of America 10987654321 Contents Preface ix PART I: MEDIA PSYCHOLOGY IN CONTEXT 1 1 What Is Media Psychology, and Why Do We Need It? 3 Defining the Territory 3 Defining “Mass Media” 6 Psychology and Media: An Uneasy Relationship? 9 Practising Media Psychology? 12 2 Theoretical Issues in Media Research 14 Early Approaches to Media 14 McLuhan and Postmodernism 16 Developments in Media Research 18 The “Effects” Tradition 18 Cultivation Research 21 Uses and Gratifications Research 23 The “Active Audience” 24 The Way Forward? 27 3 Research Methods in Media Psychology 28 The Experimental Tradition 28 Survey Methods