Online Sharing Platforms As a Medium for the Emergence of Viral Content
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KAS MP SOE Redebeitrag AM En
REPORT Konrad-Adenauer-Stiftung MEDIA MONITORING LABORATORY February 2015 Media under their own momentum: www.fmd.bg The deficient will to change www.kas.de Foundation Media Democracy (FMD) and KAS. In summary, the main findings, by the Media Program South East Europe of areas of monitoring, include: the Konrad-Adenauer-Stiftung (KAS) present the joint annual report on the MEDIA DISCOURSE state of the Bulgarian media environment in 2014. The study summarises the trends Among the most striking images in the coverage of socio-political constructed by Bulgarian media in 2014 was developments in the country. During the the presentation of patriotism as the monitored period dynamic processes sanctuary of identity. Among the most unfolded – European Parliament elections watched television events during the year and early elections to the National turned to be the Klitschko-Pulev boxing Assembly took place, three governments match. The event inflamed social networks, changed in the country’s governance. morning shows, commentary journalism. It was presented not simply as boxing, but as The unstable political situation has also an occasion for national euphoria. Such affected the media environment, in which a discourse fitted into the more general trend number of important problems have failed of nourishing patriotic passions which to find a solution. During the year, self- through the stadium language, but also regulation was virtually blocked. A vast through the media language, are easily majority of the media continued operating mobilised into street and political forms of at a loss. For many of them the problem symbolic and physical violence against with the ownership clarification remained others (Roma, refugees, the sexually and unresolved. -
A Short History of Pop ‘Pop’ Is Short for Popular Music
Read the text. A short history of pop ‘Pop’ is short for popular music. There are different styles of pop music, but they all appeal to the general public. But when did ‘modern’ pop music begin? There were two significant moments. First of all Leo Fender invented the electric guitar in 1950. Then, in 1954, Sony introduced the transistor radio and after that, music was accessible to people in their homes and cars. In 1954 Elvis Presley released That’s All Right. He fused country music with black rhythm and blues to create rock and roll. At that time this was an innovation, and Elvis, who was young, attractive and exciting, became the first teen idol and made pop music a youth culture. The 1960s was the decade of The Beatles, who dominated pop music from 1961 to 1970 with a new folk-rock sound. The Beatles were the first band to play in a stadium: Shea Stadium in New York in 1965. In June 1969 they had their seventeenth number one hit – two more than Elvis. The 60s also saw the first outdoor music festivals and popular music began to have a social and political message, for example, Bob Dylan. This was also the beginning of Motown and soul music with artists like Ray Charles, The Supremes and Marvin Gaye. Think English Elementary • Unit 9 p.107 © Oxford University Press PHOTOCOPIABLE Next came the 1970s and several new genres of music appeared, like reggae (Bob Marley), glam rock (David Bowie), punk (the Sex Pistols) and heavy metal (Iron Maiden). -
REPORT the Other Duel: the Clash of Old and New Media
REPORT Konrad-Adenauer-Stiftung e.V. MEDIA PROGRAM SOUTH EAST EUROPE January 2013 The other duel: The clash of old and new media 2012 BULGARIAN MEDIA MONITORING REPORT OF FOUNDATION MEDIA DEMOC- RACY IN COOPERATION WITH THE MEDIA PROGRAM SOUTH EAST EUROPE OF KONRAD-ADENAUER-STIFTUNG As in previous years, the 2012 report of while politicians are reluctant to make deci- Foundation Media Democracy (FMD) has sions without the support of both journalists been prepared by the team of the Media and publishers. Monitoring Lab (MML) in cooperation with the Media Program South East Europe of In 2012 media wars spread beyond the Konrad-Adenauer-Stiftung. Apart from the press, and new media confronted traditional Lab members (Nikoleta Daskalova, Ger- ones. The occasion was the ecological pro- gana Kutzeva, Silvia Petrova, Marina Ki- test in the capital, organized through the rova, Bogdana Dencheva, Vasilena Yorda- social networks (the Orlov Most events). nova, Eli Aleksandrova and Maya The protest turned against the TV channels Tzaneva), two external experts have been too, especially against the one with the hig- involved, i.e. Georgi Lozanov and Vyara hest TV rating, protestors claiming about Angelova. By tradition, the FMD annual lack of objectivity in the TV coverage. The report does not melt down individual con- war was actually between the images of one tribution of analyzers into an anonymous event in two spheres of media publicity. expert discourse, but rather brings to the fore the diversity of their individual points Also to be reckoned within the range of me- of view. The main accents of the report, dia wars, which wars could be taken as do- by areas of monitoring, include: minant influence of the owners with their contradictions over media content, could be MEDIA WARS the large-spread migration of independent TV productions between major TV channels. -
Adult Contemporary Radio at the End of the Twentieth Century
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2019 Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century Saesha Senger University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2020.011 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Senger, Saesha, "Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century" (2019). Theses and Dissertations--Music. 150. https://uknowledge.uky.edu/music_etds/150 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. -
Nielsen Music Year-End Report Canada 2016
NIELSEN MUSIC YEAR-END REPORT CANADA 2016 NIELSEN MUSIC YEAR-END REPORT CANADA 2016 Copyright © 2017 The Nielsen Company 1 Welcome to the annual Nielsen Music Year End Report for Canada, providing the definitive 2016 figures and charts for the music industry. And what a year it was! The year had barely begun when we were already saying goodbye to musical heroes gone far too soon. David Bowie, Leonard Cohen, Glenn Frey, Leon Russell, Maurice White, Prince, George Michael ... the list goes on. And yet, despite the sadness of these losses, there is much for the industry to celebrate. Music consumption is at an all-time high. Overall consumption of album sales, song sales and audio on-demand streaming volume is up 5% over 2015, fueled by an incredible 203% increase in on-demand audio streams, enough to offset declines in sales and return a positive year for the business. 2016 also marked the highest vinyl sales total to date. It was an incredible year for Canadian artists, at home and abroad. Eight different Canadian artists had #1 albums in 2016, led by Drake whose album Views was the biggest album of the year in Canada as well as the U.S. The Tragically Hip had two albums reach the top of the chart as well, their latest release and their 2005 best of album, and their emotional farewell concert in August was something we’ll remember for a long time. Justin Bieber, Billy Talent, Céline Dion, Shawn Mendes, Leonard Cohen and The Weeknd also spent time at #1. Break out artist Alessia Cara as well as accomplished superstar Michael Buble also enjoyed successes this year. -
CASTINGS for BULGARIAN ACTORS and EXTRAS
CASTINGS for BULGARIAN ACTORS and EXTRAS For contacts: Office Address: TALENT PARTNERS Casting Mobile: +359(0)887331342 100 Evlogi Georgiev Blvd. Skype: talent.partners Sofia 1505 BULGARIA E-mails: [email protected] Web site: www.talent-partners.com [email protected] [email protected] [email protected] [email protected] CASTING FOR FEATURE AND TV FILMS 2009 - “UNIVERSAL SOLDIER III” – Casting Extras; Dir.: John Hyams; Universal Soldier Production - “UNDISPUTED III: REDEMPTION” – Casting Extras; Dir.: Isaac Florentine; Nu Boyana Film - “МISSION LONDON” – Casting Actors and Extras; Dir.: Dimitar Mitovski; SIA - “ТHIS IS SODDOM” – Casting Extras; Nu Boyana Film - “ROME UNWRAPPED” – Casting Actors and Extras; Atlantic Productions 2008 - “THE WAY BACK” – Casting Extras; Dir.: Peter Weir; BUFO - “THE MAD COW” – Casting Actors and Extras; Dir.: Jamie Bradshaw, Alexander Doulerain - “FAKE IDENTITY” – Casting Extras; Dir.: Dennis Dimster; Nu Image - “COMMAND PERFORMANCE” – Casting Extras; Dir.: Dolph Lundgren; Nu Image - “THE FOURTH KIND” – Casting Extras; Dir.: Olatunde Osunsanmi; Art Image - “NINJA” – Casting Extras; Dir.: Isaac Florentine; Nu Image - “INDEPENDENCE DAY” – Casting Actors; Dir.: Hristo Zhivkov; BNT 2007 - “THE CODE” – Casting Extras; Dir.: Mimi Leder; Nu Image Bulgaria - “STONEHENGE DECODED” – Casting Actors & Extras; Dir.: Chris Spencer; Change Productions - “L’AVIATORE” – Casting Bulgarian Actors; Dir.: Carlo Carlei; Nimar Studios - “ROMAN MYSTERIES II” – Casting Bulgarian Extras; Dir.: Jill Robertson; Nu Image Bulgaria - “THE TOURNAMENT” - Casting Bulgarian Extras; Dir.: Scott Mann; Buzz Films - “ATTILA THE HUN” - Casting Bulgarian Actors & Extras; Dir.: Gareth Edwards; BBC - “HERO WANTED” – Casting Extras & Special Extras Dir.: Brian Smrz; Nu Image - “SHE & HE” - TV series; Casting Actors & Extras; Dir.: Stanislav Todorov – Rogi; FOX Life - “TILT ”- Casting Actors; Dir.: Victor Chuchkov; Chuchkov Bros. -
A Kereskedelmi Televíziózás Kialakulása És Hatása
láTóTér 10 Koncz Gábor: Komplex elemzés a művelődési otthonokról (1945–1985), avagy „...a jó gyakorlat törvényre emelé- iLLéS Gabriella sét gyorsítsuk meg...” (részlet) In: A szabadművelődéstől a közösségi művelődésig. Szerk.: Beke Pál – Deme Tamás. Széphalom Könyvműhely, Budapest, 2003. 43. o. 11 Uo. 44. o.; valamint Halász Csilla, i. m. 17. o. Egy másik forrás 1949 nyarára tette a békési kultúrotthon megnyi- a kereskedelmi televíziózás tását: Hencz Aurél: A művelődési intézmények és a művelődésigazgatás fejlődése 1945–1961. Közgazdasági és Jogi Könyvkiadó, Budapest, 1962. 152. o. 12 Hencz Aurél, i. m. 152. o. kialakulása és hatása 13 Koncz Gábor, i. m. 44. o. 14 Halász Csilla, i. m. 18. o. magyarországon 15 Vö.: Az MDP Központi Vezetősége, Politikai Bizottsága és Titkársága üléseinek napirendi jegyzékei, I. kötet. 1948–1953. Összeállította: T. Varga György. Magyar Országos Levéltár, Budapest, 2005. 105. o. 16 Koncz Gábor, i. m. 44. o.; Halász Csilla, i. m. 18. o. 17 Koncz Gábor egy 1952-es összeírásra hivatkozva 2002 kultúrotthont említ (i. m. 45. o.). Ugyanerre az évre vo- natkozóan Halász Csilla 1633 intézményről tesz említést (i. m. 19. o.). Forrása: Magyarország művelődési viszonyai 1945–1958. Szerk.: Erdész Tiborné. Közgazdasági és Jogi Könyvkiadó, Budapest, 1960. 306. o. Ez utóbbi adatsor szerint 1956-re sem érte el a kultúrotthonok száma a kétezret, de Romsics Ignác szerint 1953–54-re már meghaladta (i. m. 374. o.). A kereskedelmi televíziózás kialakulása és átalakulása 18 Hencz Aurél, i. m. 152–154. o. 19 Magyar Nemzeti Levéltár Országos Levéltár 276/89. f. MDP Agitációs és Propaganda Osztály iratai (1951– 1956) 367. őe. A szakszervezeti és üzemi kultúrházak, kultúrotthonok és kultúrtermek működési szabályzata 1997 októberétől – a világon Magyarországon elsőként – két országos lefedettségű földi 20 Vö.: 18/1957. -
Reality TV in Bulgaria: Social and Cultural Models and National Peculiarities
International Web Journal Revue internationale www.sens-public.org Reality TV in Bulgaria: Social and Cultural Models and National Peculiarities MARIA POPOVA Abstract: The Reality TV appearance results from the media content changes, the infotainment development, the media use enlargement, the creation of quality, mass, thematic universal media products, sold at for low costs and for big profits. The Reality TV significant contribution is the discrepancy between public and private, the viewers’ possibility to see themselves and their problems into participants’ behavior. Although the Reality TV shows present voyeurism, scandal and conflict, media audience may control the program narrative. These programs are entertainment form, but they engage the society with charity, define the media agenda setting, and present definitive socio-cultural models, national peculiarities, which answer to the media audience needs, which are general as cultural sense and social behavior. There are different Reality TV forms worldwide. Most of them represent local edition for the local media audience. In Bulgaria the Reality TV started in 2004 and it has had significant influence of the media content ever since. The Reality TV places substantial problems at the media sphere, connected with media reliability, media post-colonialism, media manipulation, and media pluralism. Keywords: media – Reality TV – media content – media audience – Bulgarian television Contact : [email protected] Reality TV in Bulgaria: Social and Cultural Models and National Peculiarities Maria Popova Media content – between media audience interest and social needs The changes in European media environment have been flowing in parallel directions in the last years. On one hand, the media fragmentarization increases in accordance with primarily declared and explored target media audience needs. -
A Frampton Family Affair Peter Frampton and Son Julian Show Us the Way
Peter Frampton had a monster hit with his 1976 album, “Frampton Comes Alive!” PHOTO BY MICHAEL ZAGARIS BY PHOTO A Frampton Family Affair Peter Frampton and son Julian show us the way. BY MELONIE MAGRUDER | PHOTOGRAPHY BY JOEY CARMAN hat do you do when you’re known for record- “Acoustic Classics,” and the 40 years between this effort and his ing the (at one point) best-selling album of 1976 monster hit, “Frampton Comes Alive!” seems to sit easily. all time, for playing with the most respected In this new venture, perennial favorites like “Do You Feel Like musicians on the planet, for having a poster of We Do,” “Lines On My Face” and “Sail Away” are reheard with your face plastered on millions of teenage girls’ an intimacy so immediate, it sounds like you invited Frampton Wwalls across the nation and for a decades-long history of sold- and a couple of his friends to play for you in your living room. out tours with audiences bopping to your signature hit electro- Frampton’s only obstacle to producing another hit album might rock riffs from 40 years ago? have been in deciding which songs out of his long, historical You strip it all down and record an acoustic album. canon he should include. Peter Frampton has been touring to promote his 18th album, “We decided it should just be things I personally wanted,” FALL 2016 | 39 Julian Frampton, who is on tour with his dad, Peter, said playing guitar is “part of his DNA.” Frampton told MTM. “Obviously, you want the most popular songs, but maybe something that hasn’t been heard in awhile.” His rich vocals have not lost a whisper of a note. -
2009-1-2.Pdf
Редакционна колегия Георги Карасимеонов, главен редактор, СУ “Св. Климент Охридски” Антоний Тодоров, зам. главен редактор, Нов български университет Любов Минчева, редактор, СУ “Св. Климент Охридски” Анна Кръстева, редактор, Нов български университет Секретари Милен Любенов Петя Георгиева Редакционен съвет Александър Томов, СУ “Св. Климент Охридски” Васил Пенев, СУ “Св. Климент Охридски” Добрин Канев, Нов български университет Горан Горанов, СУ “Св. Климент Охридски” Георги Янков, Университет за национално и световно стопанство Мария Пиргова, СУ “Св. Климент Охридски” Димитър Иванов, СУ “Св. Климент Охридски” Емил Константинов, БАН Ингрид Шикова, СУ “Св. Климент Охридски” Милена Стефанова, СУ “Св. Климент Охридски” Милан Миланов, Югозападен университет “Неофит Рилски” Момчил Баджаков, Нов български университет Николай Найденов, СУ “Св. Климент Охридски” Огнян Минчев, СУ “Св. Климент Охридски” Петър-Емил Митев, СУ “Св. Климент Охридски” Татяна Буруджиева, СУ “Св. Климент Охридски” Тодор Танев, СУ “Св. Климент Охридски” Татяна Дронзина, СУ “Св. Климент Охридски” Трендафил Митев, Университет за национално и световно стопанство Филип Узунов, Великотърновски университет “Св. Св. Кирил и Методий” Издание на Българската асоциация за политически науки и Института за политически и правни изследвания С любезното съдействие на Фондация “Фридрих Еберт”, Регионално бюро, София Художник: Надежда Ляхова Издателство и печат: НИК 1 ЕООД, www.rknik.com За контакти: e-mail: [email protected] ISSN 0861-4830 Политическа теория Дилеми на еДновременната трансформация на политиката и икономиката в източно- централна европа межДу 1989 и 2008 г.1 Дитер Сегерт основни принципи на смяната на системата в източно-централ- на европа В периода, предшестващ голямата смяна на системата в източна европа, неусетно се промениха ценностите: за много хора „социализъм” вече звучеше старомодно, докато „капитализъм” беше вълната на бъде- щето. -
Male Objectification, Boy Bands, and the Socialized Female Gaze Dorie Bailey Scripps College
Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2016 Beefing Up the Beefcake: Male Objectification, Boy Bands, and the Socialized Female Gaze Dorie Bailey Scripps College Recommended Citation Bailey, Dorie, "Beefing Up the Beefcake: Male Objectification, Boy Bands, and the Socialized Female Gaze" (2016). Scripps Senior Theses. Paper 743. http://scholarship.claremont.edu/scripps_theses/743 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Beefing Up the Beefcake: Male Objectification, Boy Bands, and the Socialized Female Gaze By Dorie Bailey SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILMENT OF THE DEGREE OF BACHELOR OF ARTS Professor T. Kim-Trang Tran Professor Jonathan M. Hall “I enjoy gawking and admiring the architecture of the male form. Sue me. Women have spent centuries living in atmospheres in which female sexual desire was repressed, denied or self-suppressed, and the time has come to salivate over rippled abdominals, pulsing pecs and veiny forearms. Let's do it. Let's enjoy it while it lasts.” --Dodai Stewart, “Hollywood Men: It's No Longer About Your Acting, It's About Your Abs” December 11th, 2015 Bailey 2 Abstract: In the traditionally patriarchal Hollywood industry, the heterosexual man’s “male gaze,” as coined by feminist film theorist Laura Mulvey, is the dominant viewing model for cinematic audiences, leaving little room for a negotiated reading of how visual images are created, presented, and internalized by male and female audiences alike. -
Teen Idol Pdf Free Download
TEEN IDOL PDF, EPUB, EBOOK Meg Cabot | 291 pages | 01 Aug 2005 | HarperCollins Publishers Inc | 9780060096182 | English | New York, NY, United States Teen Idol PDF Book Jen's voice really irritated me. It's Brat Pack time. Of being a teen idol, Springfield told Billboard in , "What it meant was that people would look at me and think, 'Oh, you've had some success, but you're not really that talented. Ten years ago today, July 23, One Direction created the universe. The show ran on NBC from and six movies of the week aired over the next two years. In , he began work on the new Battlestar Galactica series, playing Tom Zarek. I liked the growing up everybody does Trina and Steve! The series only lasted for 13 episodes but that was long enough for teen magazines to start running stories and pin-ups of this cutie. Nov 20, Kylah Polidore rated it it was amazing Shelves: favorites. Merrick Hanna General Pictures. From Elvis Presley to Justin Bieber , famous faces beloved by teenagers have existed for decades. But even when she apologised, I still didn't like her. Both Williams and Knight continued acting, but they'll always be remembered for appearing in those blue title sequence squares. The Asahi Shimbun. Some teen idols began their careers as child actors , such as Lindsay Lohan and Miley Cyrus. The great majority of the music being marketed to s teens was being written by adults, but s teens were increasingly appreciating and emulating artists closer to their own age, to teen fashion, and to lyrics which addressed their own concerns.