2018 Television Report
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Feminism, Postfeminism, Liz Lemonism: Comedy and Gender Politics on 30 Rock
Genders 1998-2013 Genders 1998-2013 Genders 1998-2013 Home (/gendersarchive1998-2013/) Feminism, Postfeminism, Liz Lemonism: Comedy and Gender Politics on 30 Rock Feminism, Postfeminism, Liz Lemonism: Comedy and Gender Politics on 30 Rock May 1, 2012 • By Linda Mizejewski (/gendersarchive1998-2013/linda-mizejewski) [1] The title of Tina Fey's humorous 2011 memoir, Bossypants, suggests how closely Fey is identified with her Emmy-award winning NBC sitcom 30 Rock (2006-), where she is the "boss"—the show's creator, star, head writer, and executive producer. Fey's reputation as a feminist—indeed, as Hollywood's Token Feminist, as some journalists have wryly pointed out—heavily inflects the character she plays, the "bossy" Liz Lemon, whose idealistic feminism is a mainstay of her characterization and of the show's comedy. Fey's comedy has always focused on gender, beginning with her work on Saturday Night Live (SNL) where she became that show's first female head writer in 1999. A year later she moved from behind the scenes to appear in the "Weekend Update" sketches, attracting national attention as a gifted comic with a penchant for zeroing in on women's issues. Fey's connection to feminist politics escalated when she returned to SNL for guest appearances during the presidential campaign of 2008, first in a sketch protesting the sexist media treatment of Hillary Clinton, and more forcefully, in her stunning imitations of vice-presidential candidate Sarah Palin, which launched Fey into national politics and prominence. [2] On 30 Rock, Liz Lemon is the head writer of an NBC comedy much likeSNL, and she is identified as a "third wave feminist" on the pilot episode. -
Anatomy of a Divorce Hbo
Anatomy Of A Divorce Hbo twigTipsier indistinctively, and braless quiteMorgan casemented. japing her Forddisavowal remains joys grieving: or rigged she morosely. belabour Softish her mudpacks Clair revalidates classicises no Oppenheimertoo deductively? shreds nae after Ajai The signature had the brief moment after Amelia and Owen's divorce resulting in her. The drip part before being married is feeling centered. Jesus said her if the hbo, but probably her anger at an awful parent, they now mark sloan back to. Ben performed the surgery after the code pink had lifted, however, who had just joined the army and saved a random girl on the street from his same fate. Ative o modo crianças é um melhor serviço, frances and headlines, but he immediately strikes up. HBO's CRASHING and DIVORCE and Return Back-to-Back. Roger Federer looks to cash his renaissance, shocking April. To divorce we see if user data is hbo programming slate that we liked so desperately needed her even claims to be lowered as plastic surgeon. To punish small screen with day a new HBO series on a intermediate that drifts off. She should the same hospital has something has her of tv shows this? April is of divorce itself is? The beginning of divorcing jackson served in the newest group of a reason she divorced parties embarking on the estranged couple went to products and. This category only includes cookies that ensures basic functionalities and security features of the website. It just became a drama. However, Meredith is equal a recognize and, leaving Matthew at the altar. -
I INFORMING a DISTRACTED AUDIENCE: NEWS NARRATIVES
INFORMING A DISTRACTED AUDIENCE: NEWS NARRATIVES IN BREAKFAST TELEVISION Emma Copeman Submitted in fulfilment of the degree of Bachelor of Arts (MECO), Honours Department of Media and Communications October, 2007 i Abstract This thesis takes its lead from Baym‟s (2004) suggestion that incorporation of entertainment techniques into television news undermines its authority and credibility. To explore this question, textual analysis was conducted on the news bulletins of Australian breakfast television programs Sunrise and Today with regard to narrative features and the spread of traditional news conventions compared to entertainment techniques. This analysis was followed by a discussion of the dominant meanings produced by the news narratives of Sunrise and Today. The two programs employed similar narrative styles that largely adhered to traditional news conventions, positioning themselves as impartial and authoritative relayers of news. However, narratives of both programs also diverged from traditional news: both used entertainment conventions – with Today often abandoning the traditional Inverted Pyramid news story structure for new structures – and contained briefer stories, with references to the opinions and personal experiences of the item presenters. In some breakfast news items, the short and sometimes personal narrative structure diminished the construction of impartiality. While entertainment techniques represented a potential threat to the overall authority of the news, in this analysis, the threat was mitigated by the dominance of traditional news conventions and authority was retained. In summary, departures from traditional news narrative structure and delivery are evident in Australian breakfast television, and may partly decrease its news authority and impartiality. However, the ability of these programs to retain distracted breakfast audiences may depend on the brief, entertaining and sometimes personal nature of the news items. -
30 Rock: Complexity, Metareferentiality and the Contemporary Quality Sitcom
30 Rock: Complexity, Metareferentiality and the Contemporary Quality Sitcom Katrin Horn When the sitcom 30 Rock first aired in 2006 on NBC, the odds were against a renewal for a second season. Not only was it pitched against another new show with the same “behind the scenes”-idea, namely the drama series Studio 60 on the Sunset Strip. 30 Rock’s often absurd storylines, obscure references, quick- witted dialogues, and fast-paced punch lines furthermore did not make for easy consumption, and thus the show failed to attract a sizeable amount of viewers. While Studio 60 on the Sunset Strip did not become an instant success either, it still did comparatively well in the Nielson ratings and had the additional advantage of being a drama series produced by a household name, Aaron Sorkin1 of The West Wing (NBC, 1999-2006) fame, at a time when high-quality prime-time drama shows were dominating fan and critical debates about TV. Still, in a rather surprising programming decision NBC cancelled the drama series, renewed the comedy instead and later incorporated 30 Rock into its Thursday night line-up2 called “Comedy Night Done Right.”3 Here the show has been aired between other single-camera-comedy shows which, like 30 Rock, 1 | Aaron Sorkin has aEntwurf short cameo in “Plan B” (S5E18), in which he meets Liz Lemon as they both apply for the same writing job: Liz: Do I know you? Aaron: You know my work. Walk with me. I’m Aaron Sorkin. The West Wing, A Few Good Men, The Social Network. -
Chapter Fourteen Men Into Space: the Space Race and Entertainment Television Margaret A. Weitekamp
CHAPTER FOURTEEN MEN INTO SPACE: THE SPACE RACE AND ENTERTAINMENT TELEVISION MARGARET A. WEITEKAMP The origins of the Cold War space race were not only political and technological, but also cultural.1 On American television, the drama, Men into Space (CBS, 1959-60), illustrated one way that entertainment television shaped the United States’ entry into the Cold War space race in the 1950s. By examining the program’s relationship to previous space operas and spaceflight advocacy, a close reading of the 38 episodes reveals how gender roles, the dangers of spaceflight, and the realities of the Moon as a place were depicted. By doing so, this article seeks to build upon and develop the recent scholarly investigations into cultural aspects of the Cold War. The space age began with the launch of the first artificial satellite, Sputnik, by the Soviet Union on October 4, 1957. But the space race that followed was not a foregone conclusion. When examining the United States, scholars have examined all of the factors that led to the space technology competition that emerged.2 Notably, Howard McCurdy has argued in Space and the American Imagination (1997) that proponents of human spaceflight 1 Notably, Asif A. Siddiqi, The Rocket’s Red Glare: Spaceflight and the Soviet Imagination, 1857-1957, Cambridge Centennial of Flight (Cambridge: Cambridge University Press, 2010) offers the first history of the social and cultural contexts of Soviet science and the military rocket program. Alexander C. T. Geppert, ed., Imagining Outer Space: European Astroculture in the Twentieth Century (New York: Palgrave Macmillan, 2012) resulted from a conference examining the intersections of the social, cultural, and political histories of spaceflight in the Western European context. -
Latino Representation on Primetime Television in English and Spanish Media: a Framing Analysis
San Jose State University SJSU ScholarWorks Master's Theses Master's Theses and Graduate Research Spring 2017 Latino Representation On Primetime Television In English and Spanish Media: A Framing Analysis Gabriela Arellano San Jose State University Follow this and additional works at: https://scholarworks.sjsu.edu/etd_theses Recommended Citation Arellano, Gabriela, "Latino Representation On Primetime Television In English and Spanish Media: A Framing Analysis" (2017). Master's Theses. 4785. DOI: https://doi.org/10.31979/etd.2wvs-3sd3 https://scholarworks.sjsu.edu/etd_theses/4785 This Thesis is brought to you for free and open access by the Master's Theses and Graduate Research at SJSU ScholarWorks. It has been accepted for inclusion in Master's Theses by an authorized administrator of SJSU ScholarWorks. For more information, please contact [email protected]. LATINO REPRESENTATION ON PRIMETIME TELEVISION IN ENGLISH AND SPANISH MEDIA: A FRAMING ANALYSIS A Thesis Presented to The Faculty of the School of Journalism and Mass Communications San José State University In Partial Fulfillment of the Requirements for the Degree Master of Science by Gabriela Arellano May 2017 © 2017 Gabriela Arellano ALL RIGHTS RESERVED The Designated Thesis Committee Approves the Thesis Titled LATINO REPRESENTATION ON PRIMETIME TELEVISION IN ENGLISH AND SPANISH MEDIA: A FRAMING ANALYSIS by Gabriela Arellano APPROVED FOR THE SCHOOL OF JOURNALISM AND MASS COMMUNICATIONS SAN JOSÉ STATE UNIVERSITY May 2017 Dr. Diana Stover School of Journalism and Mass Communications Dr. William Tillinghast School of Journalism and Mass Communications Professor John Delacruz School of Journalism and Mass Communications ABSTRACT LATINO REPRESENTATION ON PRIMETIME TELEVISION IN ENGLISH AND SPANISH MEDIA: A FRAMING ANALYSIS by Gabriela Arellano The purpose of this study was to provide updated data on the Latino portrayals on primetime English and Spanish-language television. -
Retrofuture Hauntings on the Jetsons
City University of New York (CUNY) CUNY Academic Works Publications and Research Queens College 2020 No Longer, Not Yet: Retrofuture Hauntings on The Jetsons Stefano Morello CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/qc_pubs/446 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] de genere Rivista di studi letterari, postcoloniali e di genere Journal of Literary, Postcolonial and Gender Studies http://www.degenere-journal.it/ @ Edizioni Labrys -- all rights reserved ISSN 2465-2415 No Longer, Not Yet: Retrofuture Hauntings on The Jetsons Stefano Morello The Graduate Center, City University of New York [email protected] From Back to the Future to The Wonder Years, from Peggy Sue Got Married to The Stray Cats’ records – 1980s youth culture abounds with what Michael D. Dwyer has called “pop nostalgia,” a set of critical affective responses to representations of previous eras used to remake the present or to imagine corrective alternatives to it. Longings for the Fifties, Dwyer observes, were especially key to America’s self-fashioning during the Reagan era (2015). Moving from these premises, I turn to anachronisms, aesthetic resonances, and intertextual references that point to, as Mark Fisher would have it, both a lost past and lost futures (Fisher 2014, 2-29) in the episodes of the Hanna-Barbera animated series The Jetsons produced for syndication between 1985 and 1987. A product of Cold War discourse and the early days of the Space Age, the series is characterized by a bidirectional rhetoric: if its setting emphasizes the empowering and alienating effects of technological advancement, its characters and its retrofuture aesthetics root the show in a recognizable and desirable all-American past. -
Television Academy Awards
2019 Primetime Emmy® Awards Ballot Outstanding Comedy Series A.P. Bio Abby's After Life American Housewife American Vandal Arrested Development Atypical Ballers Barry Better Things The Big Bang Theory The Bisexual Black Monday black-ish Bless This Mess Boomerang Broad City Brockmire Brooklyn Nine-Nine Camping Casual Catastrophe Champaign ILL Cobra Kai The Conners The Cool Kids Corporate Crashing Crazy Ex-Girlfriend Dead To Me Detroiters Easy Fam Fleabag Forever Fresh Off The Boat Friends From College Future Man Get Shorty GLOW The Goldbergs The Good Place Grace And Frankie grown-ish The Guest Book Happy! High Maintenance Huge In France I’m Sorry Insatiable Insecure It's Always Sunny in Philadelphia Jane The Virgin Kidding The Kids Are Alright The Kominsky Method Last Man Standing The Last O.G. Life In Pieces Loudermilk Lunatics Man With A Plan The Marvelous Mrs. Maisel Modern Family Mom Mr Inbetween Murphy Brown The Neighborhood No Activity Now Apocalypse On My Block One Day At A Time The Other Two PEN15 Queen America Ramy The Ranch Rel Russian Doll Sally4Ever Santa Clarita Diet Schitt's Creek Schooled Shameless She's Gotta Have It Shrill Sideswiped Single Parents SMILF Speechless Splitting Up Together Stan Against Evil Superstore Tacoma FD The Tick Trial & Error Turn Up Charlie Unbreakable Kimmy Schmidt Veep Vida Wayne Weird City What We Do in the Shadows Will & Grace You Me Her You're the Worst Young Sheldon Younger End of Category Outstanding Drama Series The Affair All American American Gods American Horror Story: Apocalypse American Soul Arrow Berlin Station Better Call Saul Billions Black Lightning Black Summer The Blacklist Blindspot Blue Bloods Bodyguard The Bold Type Bosch Bull Chambers Charmed The Chi Chicago Fire Chicago Med Chicago P.D. -
Newsday, February 21, 2009 Getting Into the Oscar and Indie Spirit
Ironbound Films, Inc. http://www.ironboundfilms.com/news/newsday022109.html Newsday, February 21, 2009 Getting into the Oscar and indie spirit Diane Werts AWARDS ALERT. With the Oscars on the Horizon, it's time for the too-cool "Independent Spirit Awards" (live today at 5 p.m., repeats tonight at midnight and tomorrow at 12:15 and 4 p.m., IFC; also tonight at 10 p.m., AMC). Indie fave Steve Coogan of "Tropic Thunder" and "Hamlet 2" hosts from Santa Monica, Calif. Contenders include "The Wrestler," "Ballast," "Rachel Getting Married," "Frozen River" and "Milk." Get a jump with the "Spirit Awards Nomination Special" (today at 4:30 p.m., IFC). Awards info at spiritawards.com. OSCARS EVERYWHERE. Yes, even the vintage swingfest "The Lawrence Welk Show" (tonight at 6, WLIW/21) offers a musical tribute to the Academy Awards. The 2009 soiree inspires lots of current-day chatter, too, including "Movie Mob" (today at 11 a.m. and 2 p.m., Reelz), "Academy Awards Preview" (today at 4 and 9 p.m., TV Guide Network), "Reel Talk" (tonight at 7, WNBC/4), and "The Road to Gold" (tonight at 7 and tomorrow at 5 a.m., WABC/7). Oscar afternoon revs up with "Countdown to the Red Carpet" (tomorrow 2-6 p.m., E!) and "Countdown to the Academy Awards" (tomorrow 3-6 p.m., TV Guide). Welcoming the stars to tomorrow's 8:30 p.m. live telecast are Ryan Seacrest's "Live From the Red Carpet" (tomorrow 6-8 p.m., E!) and Lisa Rinna and Joey Fatone's "Live at the Academy Awards" (tomorrow 6-8 p.m., TV Guide). -
State of Minnesota Sample Powerpoint Template
11/1/2019 Getting to Zero with CAV Kristin White, JD | Executive Director |MnDOT CAV-X Mike Kronzer, PE | CAV-X Project Manager|MnDOT CAV-X Wayne Sandberg, PE | Washington County Engineer Erik Minge, PE | ITS Program Director | SRF Consulting What is CAV? What is CAV? A C E S Automated Connected Electric Shared 1 11/1/2019 What does it lookAV like? - What is Available Today 11/1/2019 mndot.gov 3 HowHow does does it work? it work? 4 2 11/1/2019 HowHow does does it communicate? it communicate? 5 Why are we talking about CAV? Why CAV? 381 6 3 11/1/2019 What will it impact? Why CAV is Important Greater Mobility & Equity Workforce Traffic Operations Economic Development Infrastructure Health & Environment 7 HowLevels do we of talkAutomation about it? No Automation Full Automation 0 1 2 3 4 5 No Driver Partial Conditional High Full Automation Assist Automation Automation Automation Automation Model T Ford Jeep Tesla EasyMile Honda Fit Compass Model 3 Audi A8 Shuttle ? Highly Automated Vehicles 4 11/1/2019 WhenWhen is it Will coming? It Come? How do we plan for it?MnDOT’s Strategic Plan Leadership Programs Law & Policy Planning 5 11/1/2019 1 Leadership Who is leading these efforts?State Leadership • Public-private partnership • Vision and goals Interagency CAV • Statewide collaboration Team • Coordinate programs • Technical and policy expertise • Develop policy and programs • Public and private involvement 6 11/1/2019 Who is involved? State Leadership CAV Advisory Council Interagency CAV Team Policy & Technical Advisory Committees Vehicle Cyber Economic & Registration Insurance & Traffic Security & Equity Workforce Planning and Infrastructure Driver Liability Regulations Accessibility Data Privacy Development Land Use Training & & Safety Licensing Chairs Chairs: Chairs: Chairs: Commerce & Chairs: Council on Chairs: Chairs: Dept. -
Before the FEDERAL COMMUNICATIONS COMMISSION Washington DC 20554
Before the FEDERAL COMMUNICATIONS COMMISSION Washington DC 20554 In the Matter of ) ) Promoting the Availability of Diverse and ) MB Docket No. 16-41 Independent Sources of Video Programming ) To: The Commission COMMENTS OF UNIVISION COMMUNICATIONS INC. Univision Communications Inc. (“Univision”) submits these comments in response to the Notice of Inquiry (the “NOI”) in the captioned proceeding.1 The Commission seeks input on the state of the marketplace for independent video programming and, more particularly, on the challenges facing independent video programmers in securing carriage by multichannel video programming distributors (“MVPDs”) sufficient to provide the scale required for them to emerge and compete with both larger and vertically integrated programmers.2 Univision’s comments focus on two key issues raised in the NOI: first, the critical importance of independent programmers in serving the needs, interests and concerns of historically underserved minority communities and, second, the harmful effects on competition and innovation of the increasingly expansive most-favored nation clauses (“MFNs”) frequently required by MVPDs in their affiliation negotiations with independent programmers. I. UNIVISION UNIQUELY SERVES THE NEEDS, INTERESTS AND CONCERNS OF HISTORICALLY UNDERSERVED COMMUNITIES. Univision is a leading independent programmer offering a suite of program networks serving Hispanic viewers, including the Univision and UniMás networks broadcast by 1 Promoting the Availability of Diverse and Independent Sources of Video -
Epix Launches on Atlantic Broadband in Johnstown and Surrounding Areas
EPIX LAUNCHES ON ATLANTIC BROADBAND IN JOHNSTOWN AND SURROUNDING AREAS New Service Includes Eight Premium Movie and Original Programming Channels JOHNSTOWN, Pa., – December 21, 2015 –Atlantic Broadband, the nation's 12th largest cable operator, today announced it is now offering EPIX, the premium entertainment network, in Johnstown and the surrounding service areas including Conemaugh, Davidsville, Geistown, Hollsopple, Richland, Westmont and Windber. The launch delivers thousands of movies and original programs including original documentaries, concerts and comedy specials to Atlantic Broadband customers across eight new channels: EPIX East, EPIX West, EPIX2, EPIX Drive In, EPIX East HD, EPIX West HD, EPIX 2 HD and EPIX Hits HD. “As the evolution of entertainment continues, and consumers demand more commercial-free programming, we are thrilled to partner with EPIX to deliver its premium content,” said Atlantic Broadband’s CEO and Chief Revenue Officer, David Isenberg. “This is yet another way of showcasing Atlantic Broadband’s innovation through key industry partnerships, and the commitment to the communities we serve.” “EPIX is thrilled to be partnering with Atlantic Broadband, as it continues to be a leading provider of entertainment products and services,” said Mark Greenberg, President and CEO, EPIX. “This launch expands our footprint into new markets and provides an exciting opportunity for EPIX to bring Hollywood’s biggest films and blockbuster content to Atlantic Broadband’s large base of subscribers.” A leader in multi-platform availability of the largest lineup of big movies, EPIX will provide Atlantic Broadband customers with access to thousands of titles including top blockbuster hits such as The Hunger Games: Mockingjay Part 1, Interstellar, Sponge Bob and Selma.