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Why YOU Should Be an English Major
Why YOU should be an English Major You’ll be able to communicate your ideas effectively. This is what employers want the most – people who can communicate clearly. Impress your employer with your ability to communicate, and you’ll get promoted. You’ll also sound smarter than everybody else. You’ll be able to learn new tasks and ideas. A liberal arts education teaches you how to learn, not how to do a specific job. Your employer will provide on-the-job training. Besides, the hot jobs of 20 years from now haven’t even been thought of yet; major in English, learn how to learn new job skills, and stay employed. You’ll be prepared for med school, law school, business school… Being an English major teaches you how to think critically. Graduate schools in every field are more interested in your ability to analyze situations and make connections between concepts than in your ability to memorize lists. You’ll get a good job. Major scientific, technological, industrial, and financial companies like to hire English majors. They want employees who can analyze problems, think up creative answers, and communicate those answers to coworkers. And an English degree teaches you to do all these things. You’ll earn lots of money. Well, maybe not as much as science graduates, but the 201 201 Payscale College Salary Report listed salaries for popular careers for English majors that ranged from $ to $ . 5- 6 40,000 76,000 You’ll move up the company ladder. Your English major taught you how to analyze problems, think creatively, synthesize intelligent solutions, and communicate those solutions to your bosses and coworkers. -
Table of Contents
Table of Contents PART I. Introduction 5 A. Overview 5 B. Historical Background 6 PART II. The Study 16 A. Background 16 B. Independence 18 C. The Scope of the Monitoring 19 D. Methodology 23 1. Rationale and Definitions of Violence 23 2. The Monitoring Process 25 3. The Weekly Meetings 26 4. Criteria 27 E. Operating Premises and Stipulations 32 PART III. Findings in Broadcast Network Television 39 A. Prime Time Series 40 1. Programs with Frequent Issues 41 2. Programs with Occasional Issues 49 3. Interesting Violence Issues in Prime Time Series 54 4. Programs that Deal with Violence Well 58 B. Made for Television Movies and Mini-Series 61 1. Leading Examples of MOWs and Mini-Series that Raised Concerns 62 2. Other Titles Raising Concerns about Violence 67 3. Issues Raised by Made-for-Television Movies and Mini-Series 68 C. Theatrical Motion Pictures on Broadcast Network Television 71 1. Theatrical Films that Raise Concerns 74 2. Additional Theatrical Films that Raise Concerns 80 3. Issues Arising out of Theatrical Films on Television 81 D. On-Air Promotions, Previews, Recaps, Teasers and Advertisements 84 E. Children’s Television on the Broadcast Networks 94 PART IV. Findings in Other Television Media 102 A. Local Independent Television Programming and Syndication 104 B. Public Television 111 C. Cable Television 114 1. Home Box Office (HBO) 116 2. Showtime 119 3. The Disney Channel 123 4. Nickelodeon 124 5. Music Television (MTV) 125 6. TBS (The Atlanta Superstation) 126 7. The USA Network 129 8. Turner Network Television (TNT) 130 D. -
NATPE 2013 Tuesday, January 29, 2013 Click For
join the family this fall 20TH TV 3376 BRIAN S. TOP HAT BANNER MECHANICAL BUILT AT 100% MECH@ 100% 9.875" X 1.25" 9.625"W X 1"H SHOW DAILY NATPE • MIAMI BEACH TUESDAY, JANUARY 29, 2013 CONTENT INDUSTRY client and prod special info: # job# artist issue/ time pub post date (est) insert/ line Sinead Harte size air date screen 323-963-5199 ext 220 CHANGE 8240 Sunset Blvd CREATES bleed trim live Los Angeles, CA 90046 DEBATEBY ANDREA FREYGANG CERTAINBY CHARLOTTE LIBOV ideo might have killed ra - dio, as the first song aired on echnology is changing view- VMTV implied, but not every- ing habits and the TV industry one is certain that the internet is Tmust keep pace by reinventing going to cause TV’s demise. In itself, much as music industry did the opening session of NATPE, in the wake of the seismic changes as panelists debated the impact that nearly destroyed that indus- of social media and the internet try, observed David Pakman, who on the TV industry, audience re- led the opening panelA-004 at NATPE 1537F CHRISTINA SCHIERMANN PHOTO BY ALEX MATTEO BY PHOTO 1/4"=1' action was mixed. on Monday. Game changing or not? That was the topic under consideration Monday when a keynote panel of LAX FLIGHT PATH 9.01.08 N/A 4c “I think Facebook is a better experts voiced opinions about the impact of digital distribution. Among those weighing in were, In answer to the question competitor to TV than YouTube. from left to right, Kevin Beggs, Lionsgate Television Group president; TheBlaze’s Betsy Morgan, Will Disruption Choke250' the w TeleviX 65'- h 9.18.08 SUNDAY 150 It’s a very interesting debate president & chief strategy officer; and Aereo’s Chet Kanojia, founder and CEO sion Business Models?,68.75" the Xpanel 17.875" 62.5" X 16.25" ALL to have,” said Fiona Dawson, a SEE CHANGE, P. -
Rick Ludwin Collection Finding
Rick Ludwin Collection Page 1 Rick Ludwin Collection OVERVIEW OF THE COLLECTION Creator: Rick Ludwin, Executive Vice President for Late-night and Primetime Series, NBC Entertainment and Miami University alumnus Media: Magnetic media, magazines, news articles, program scripts, camera-ready advertising artwork, promotional materials, photographs, books, newsletters, correspondence and realia Date Range: 1937-2017 Quantity: 12.0 linear feet Location: Manuscript shelving COLLECTION SUMMARY The majority of the Rick Ludwin Collection focuses primarily on NBC TV primetime and late- night programming beginning in the 1980s through the 1990s, with several items from more recent years, as well as a subseries devoted to The Mike Douglas Show, from the late 1970s. Items in the collection include: • magnetic and vinyl media, containing NBC broadcast programs and “FOR YOUR CONSIDERATION” awards compilations, etc. • program scripts, treatments, and rehearsal schedules • industry publications • national news clippings • awards program catalogs • network communications, and • camera-ready advertising copy • television production photographs Included in the collection are historical narratives of broadcast radio and television and the history of NBC, including various mergers and acquisitions over the years. 10/22/2019 Rick Ludwin Collection Page 2 Other special interests highlighted by this collection include: • Bob Hope • Johnny Carson • Jay Leno • Conan O’Brien • Jimmy Fallon • Disney • Motown • The Emmy Awards • Seinfeld • Saturday Night Live (SNL) • Carson Daly • The Mike Douglas Show • Kennedy & Co. • AM America • Miami University Studio 14 Nineteen original Seinfeld scripts are included; most of which were working copies, reflecting the use of multi-colored pages to call out draft revisions. Notably, the original pilot scripts are included, which indicate that the original title ideas for the show were Stand Up, and later The Seinfeld Chronicles. -
The Effects of Prime Time Sub-Branding in Network Television
The Effects of Prime Time Sub-Branding in Network Television: An Analysis of NBC’s “Must See TV” A Thesis Submitted to the Faculty of Drexel University by Elizabeth A. Yanak In Partial Fulfillment of the Requirements of the Degree of Master of Science in Television Management August 2012 Acknowledgements Thank you to Drexel University for the immense number of available resources, especially those available online through the university library. I would like to recognize the superior direction of my advisor Andrew Susskind. He not only guided me in discovering excellent publications and interviewees, but also provided me with critical and much-needed motivation in order to finish this thesis. I would also like to thank the Television Management Program Director, Albert Tedesco, for his support and understanding throughout this entire process. I am very thankful to those who agreed to interviews for this thesis. Hearing about their firsthand experiences in network television was critical to this case study, but also has reinforced my desire to work in the television industry. I would like to thank my colleagues both in the Television Management program and at my current place of work. Your constructive criticism, brainstorming sessions about related media trends, and friendship was appreciated beyond words. I lastly would like to thank my family and boyfriend. I will never forget the immense amount of love and support you have given me throughout this endeavor. iii Table of Contents LIST OF APPENDIXES ....................................................................................................iv -
Lead-In AT&T Gives Skinny on Its New Bundle Directv Now Courts Cord-Cutters, but New Offering Has a Few Gaps to Close
Lead-In AT&T Gives Skinny on Its New Bundle DirecTV Now courts cord-cutters, but new offering has a few gaps to close BY DADE HAYES month for 100 channels would equate to a negative operating AKING THE STAGE Nov. margin of more than 7%. 28 at DirecTV Now’s New Another risk factor is the TYork launch event, Brad company’s stated intention to Bentley, CMO of AT&T’s enter- address the roughly 20 million tainment and internet services households not currently in the unit, offered something of a man- bundled cable ecosystem. While tra for the unbundling world. that unto itself is not a wholly “The challenge with unusual strategy, execs spoke skinny bundles is that your throughout the launch event of skinny is different from my reaching the subset of customers skinny, which is differ- within that 20 million who resist Brad Bentley, CMO of AT&T’s ent than someone else’s entertainment and internet services unit, credit checks and two-year con- skinny,” Bentley said. talks up DirecTV Now in New York. tracts that are common among AT&T’s skinny launched traditional MVPDs. It is difficult Nov. 30, offering what the to know how reliable and viable company sees as another CBS and Showtime, with which such a base will prove. proof point for the value AT&T has yet to reach carriage Analysts Craig Moffett and Mi- of its pending merger with terms. Sports, too, is not overly chael Nathanson issued a report Time Warner. The service, with “It’s really important to under- abundant, notably the hallmark noting the potential for DirecTV monthly prices ranging from stand that this is the foundation NFL Sunday Ticket package that Now to shake up the market $35 to $70, puts DirecTV in the for how we are going to do things helped build DirectTV’s satellite even if it proves little more than skinny derby with PlayStation in the future,” Stankey said. -
'Seinfeld' Credo
DOW JONES, A NEWS CORP COMPANY Nikkei 23249.95 0.00% ▲ Hang Seng 25182.15 0.19% ▼ U.S. 10 Yr 1/32 Yield 0.713% ▲ Crude Oil 42.31 0.17% ▲ Yen 106.96 0.03% ▲ DJIA 27896.72 0.29% ▼ The Wall Street Journal John Kosner English Edition Print Edition Video Podcasts Latest Headlines Home World U.S. Politics Economy Business Tech Markets Opinion Life & Arts Real Estate WSJ. Magazine Search 15-Year Fixed 2.25% 2.46% APR Refinance Rates the Lowest in History 30-Year Fixed 2.50% 2.71% APR 2.46% 5/1 ARM 2.63% 2.90% APR APR $225,000 (5/1 ARM) $904/mo 2.90% APR Calculate Payment $350,000 (5/1 ARM) $1,409/mo 2.79% APR Terms & Conditions apply. NMLS#1136 BOOKS | BOOKSHELF SHARE FACEBOOKNo Hugging, No Learning: The ‘Seinfeld’ Credo TWITTERThe show was assigned to an NBC executive who had never overseen a sitcom. Left alone, Larry David sought inspiration from the only available source: memories of misbegotten moments in his own past. EMAIL PERMALINK PHOTO: NBC/GETTY IMAGES By Edward Kosner Updated Aug. 12, 2016 4:30 pm ET SAVE PRINT TEXT 82 Everyone has a favorite episode or moment from the “Seinfeld” show—Jerry’s puffy pirate shirt and his suede jacket or his encounters with the close-talker and the woman with man hands; the impermeable maitre d’ at the Chinese restaurant; Elaine’s spastic dancing or deciding whether a potential beau was worth the investment of a precious, discontinued birth-control sponge; Kramer’s at-home talk-show set; George’s mortifying “shrinkage” after a dip in a chilly pool or the time he quit his job with a tirade, then showed up for work the next day as if nothing had happened. -
Gerhard Zeiler Receives Brandon Tartikoff Legacy Award in Miami
Gerhard Zeiler receives Brandon Tartikoff Legacy Award in Miami Luxembourg/Miami, 26 January 2011 – As the first Non-American TV executive, RTL Group CEO Gerhard Zeiler has been honoured with the 8th annual Brandon Tartikoff Legacy Award. The prestigious award was presented to Gerhard Zeiler by the global, non-profit programming association Natpe yesterday in Miami. In his introductory remarks during the awards event, Mark Kaner, President of News Corp’s Twentieth Century Fox Television Distribution, said: “I’ve never met anybody who loves programming more than he does and that shows in everything he does. He knows the difference between taking his work seriously and himself seriously. The first is essential, the second is a disaster.” In a video tribute, media entrepreneur Haim Saban said: “There is only one Mister TV Europe, and that’s Gerhard Zeiler.” Jeffrey Schlesinger, President of Warner Bros. International Television, said: “He’s easy to talk to, he says what he means. When you shake his hand you know you can take it to the bank.” The Brandon Tartikoff Legacy Award is named in honour of Brandon Tartikoff, a former Programme Executive at the US network NBC, who was responsible for famous shows such as The Cosby Show, Cheers, Seinfeld, Alf, Knight Rider, The A-Team, Miami Vice all of which became hit formats around the world. The award was created in 2004 to recognise innovative leaders and artistic visionaries in television who have shaped the business and inspired their colleagues. Previous recipients include creators and producers such as Anthony E. Zuiker (CSI franchise), Marc Cherry (Desperate Housewives), Dick Wolf (Law & Order), David E. -
Masculinity in American Television from Carter to Clinton Bridget Kies University of Wisconsin-Milwaukee
University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations May 2018 Masculinity in American Television from Carter to Clinton Bridget Kies University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the Film and Media Studies Commons, Gender and Sexuality Commons, and the Mass Communication Commons Recommended Citation Kies, Bridget, "Masculinity in American Television from Carter to Clinton" (2018). Theses and Dissertations. 1844. https://dc.uwm.edu/etd/1844 This Dissertation is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. MASCULINITY IN AMERICAN TELEVISION FROM CARTER TO CLINTON by Bridget Kies A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in English at The University of Wisconsin–Milwaukee May 2018 ABSTRACT MASCULINITY IN AMERICAN TELEVISION FROM CARTER TO CLINTON by Bridget Kies The University of Wisconsin–Milwaukee, 2018 Under the Supervision of Professor Tasha Oren This dissertation examines American television during a period I call the long 1980s. I argue that during this period, television became invested in new and provocative images of masculinity on screen and in networks’ attempts to court audiences of men. I have demarcated the beginning and ending of the long 1980s with the declaration of Jimmy Carter as Time magazine’s Man of the Year in 1977 and Bill Clinton’s inauguration in 1993. This also correlates with important shifts in the television industry, such as the formation of ESP-TV (later ESPN) in 1979 and the end of Johnny Carson’s tenure as host of The Tonight Show on NBC in 1992. -
Finding Aid to the Historymakers ® Video Oral History with Hamilton Cloud, II
Finding Aid to The HistoryMakers ® Video Oral History with Hamilton Cloud, II Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: Cloud, Hamilton S., 1952- Title: The HistoryMakers® Video Oral History Interview with Hamilton Cloud, II, Dates: April 29, 2011 and April 30, 2011 Bulk Dates: 2011 Physical 13 uncompressed MOV digital video files (6:06:10). Description: Abstract: Talent agent and television producer Hamilton Cloud, II (1952 - ) produced the NAACP Image Awards from 1987 to 2000. In 1987, the Image Awards were broadcast on a national television network for the first time. Cloud has worked with a number of other companies, including NBC, Playboy Entertainment Group, and QDE. Cloud was interviewed by The HistoryMakers® on April 29, 2011 and April 30, 2011, in Los Angeles, California. This collection is comprised of the original video footage of the interview. Identification: A2011_036 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Television producer and talent agent Hamilton Cloud, II, was born on November 30, 1952, in Los Angeles, California. His father, Hamilton Cloud, Sr. was one of a few African Americans trained at the Northwestern University Dental School at the time of his graduation. Cloud grew up in Los Angeles but pursued his education at Yale University, where he earned his B.A. degree for his studies in “Communications: Mass Media and Black America,” a concentration that he “Communications: Mass Media and Black America,” a concentration that he originated. Working with radio programs in Los Angeles for fifteen years, Cloud established himself within the media industry. -
MAKING MEMORIES at the MOVIES – a Guide to Watching at Home
MAKING MEMORIES AT THE MOVIES – A Guide to Watching at Home Celebrating Women in Film All films in this program have something in common: Their stars are legendary women in film. Do you recall seeing these films? Let’s spark some memories! A little background information about women in film According to the Study of Women in Television and Film at San Diego State University, male characters continued to control the big screen in 2018. about 35% of films contained 10 or more female characters in dialogue roles about 82% had 10 or more male characters in speaking roles. ….research is still revealing that women are overwhelmingly valued in film based on their identification as a mother, wife, or lover (Lang, 2015). Women are often portrayed as dependent on other characters, over-emotional, and confined to low-status jobs when compared to enterprising and ambitious male characters. So… let’s celebrate some of our outstanding female actor’s who have endured throughout the years! ____________________________________________________________________________ Judy Garland The Wizard of Oz (1939) is an American musical fantasy film. Widely considered to be one of the greatest films in cinema history, it is the best-known and most commercially successful adaptation of L. Frank Baum's 1900 children's book The Wonderful Wizard of Oz. The film stars Judy Garland as Dorothy Galea, alongside Ray Bolger, Jack Haley, Bert Lahr, Frank Morgan, Billie Burke and Margaret Hamilton. Theme: Dorothy Gale lives with her dog Toto on a Kansas farm belonging to her Aunt Em and Uncle Henry. She is not able to join her family in their storm cellar during a tornado, so instead, takes shelter in her bedroom where she is hit by flying debris. -
Contentious Comedy
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OpenGrey Repository 1 Contentious Comedy: Negotiating Issues of Form, Content, and Representation in American Sitcoms of the Post-Network Era Thesis by Lisa E. Williamson Submitted for the Degree of Doctor of Philosophy The University of Glasgow Department of Theatre, Film and Television Studies 2008 (Submitted May 2008) © Lisa E. Williamson 2008 2 Abstract Contentious Comedy: Negotiating Issues of Form, Content, and Representation in American Sitcoms of the Post-Network Era This thesis explores the way in which the institutional changes that have occurred within the post-network era of American television have impacted on the situation comedy in terms of form, content, and representation. This thesis argues that as one of television’s most durable genres, the sitcom must be understood as a dynamic form that develops over time in response to changing social, cultural, and institutional circumstances. By providing detailed case studies of the sitcom output of competing broadcast, pay-cable, and niche networks, this research provides an examination of the form that takes into account both the historical context in which it is situated as well as the processes and practices that are unique to television. In addition to drawing on existing academic theory, the primary sources utilised within this thesis include journalistic articles, interviews, and critical reviews, as well as supplementary materials such as DVD commentaries and programme websites. This is presented in conjunction with a comprehensive analysis of the textual features of a number of individual programmes. By providing an examination of the various production and scheduling strategies that have been implemented within the post-network era, this research considers how differentiation has become key within the multichannel marketplace.