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Download-To-Own and Online Rental) and Then to Subscription Television And, Finally, a Screening on Broadcast Television
Exporting Canadian Feature Films in Global Markets TRENDS, OPPORTUNITIES AND FUTURE DIRECTIONS MARIA DE ROSA | MARILYN BURGESS COMMUNICATIONS MDR (A DIVISION OF NORIBCO INC.) APRIL 2017 PRODUCED WITH THE ASSISTANCE OF 1 EXPORTING CANADIAN FEATURE FILMS IN GLOBAL MARKETS Acknowledgements This study was commissioned by the Canadian Media Producers Association (CMPA), in partnership with the Association québécoise de la production médiatique (AQPM), the Cana- da Media Fund (CMF), and Telefilm Canada. The following report solely reflects the views of the authors. Findings, conclusions or recom- mendations expressed in this report are those of the authors and do not necessarily reflect the views of the funders of this report, who are in no way bound by any recommendations con- tained herein. 2 EXPORTING CANADIAN FEATURE FILMS IN GLOBAL MARKETS Executive Summary Goals of the Study The goals of this study were three-fold: 1. To identify key trends in international sales of feature films generally and Canadian independent feature films specifically; 2. To provide intelligence on challenges and opportunities to increase foreign sales; 3. To identify policies, programs and initiatives to support foreign sales in other jurisdic- tions and make recommendations to ensure that Canadian initiatives are competitive. For the purpose of this study, Canadian film exports were defined as sales of rights. These included pre-sales, sold in advance of the completion of films and often used to finance pro- duction, and sales of rights to completed feature films. In other jurisdictions foreign sales are being measured in a number of ways, including the number of box office admissions, box of- fice revenues, and sales of rights. -
Junior Mints and Their Bigger Than Bite-Size Role in Complicating Product Placement Assumptions
Salve Regina University Digital Commons @ Salve Regina Pell Scholars and Senior Theses Salve's Dissertations and Theses 5-2010 Junior Mints and Their Bigger Than Bite-Size Role in Complicating Product Placement Assumptions Stephanie Savage Salve Regina University, [email protected] Follow this and additional works at: https://digitalcommons.salve.edu/pell_theses Part of the Advertising and Promotion Management Commons, and the Marketing Commons Savage, Stephanie, "Junior Mints and Their Bigger Than Bite-Size Role in Complicating Product Placement Assumptions" (2010). Pell Scholars and Senior Theses. 54. https://digitalcommons.salve.edu/pell_theses/54 This Article is brought to you for free and open access by the Salve's Dissertations and Theses at Digital Commons @ Salve Regina. It has been accepted for inclusion in Pell Scholars and Senior Theses by an authorized administrator of Digital Commons @ Salve Regina. For more information, please contact [email protected]. Savage 1 “Who’s gonna turn down a Junior Mint? It’s chocolate, it’s peppermint ─it’s delicious!” While this may sound like your typical television commercial, you can thank Jerry Seinfeld and his butter fingers for what is actually one of the most renowned lines in television history. As part of a 1993 episode of Seinfeld , subsequently known as “The Junior Mint,” these infamous words have certainly gained a bit more attention than the show’s writers had originally bargained for. In fact, those of you who were annoyed by last year’s focus on a McDonald’s McFlurry on NBC’s 30 Rock may want to take up your beef with Seinfeld’s producers for supposedly showing marketers the way to the future ("Brand Practice: Product Integration Is as Old as Hollywood Itself"). -
Integrating Video Clips Into the “Legacy Content” of the K–12 Curriculum: TV, Movies, and Youtube in the Classroom
Integrating Video Clips into the “Legacy Content” of the K–12 Curriculum: TV, Movies, and YouTube in the Classroom Ronald A. Berk Disclaimer: This chapter is based on a presentation given at the annual Evaluation Systems Conference in Chicago. Since the content of the October 2008 presentation focused on using videos in the classrooms of the future, this chapter will not be able to capture the flavor and spirit of the actual videos shown. The audience exhibited a range of emotions, from laughter to weeping to laughter to weeping. Unfortunately, this print version will probably only bring about the weeping. Keep a box of tissues nearby. Enjoy. Using videos in teaching is not new. They date back to prehistoric times, when cave instructors used 16 mm projectors to show cave students examples of insurance company marketing commercials in business courses. Now even DVD players are history. So what’s new? There are changes in four areas: (1) the variety of video formats, (2) the ease with which the technology can facilitate their application in the classroom, (3) the number of video techniques a teacher can use, and (4) the research on multimedia learning that provides the theoretical and empirical support for their use as an effective teaching tool. A PC or Mac and a LCD projector with speakers can easily embed video clips for a PowerPoint presentation on virtually any topic. This chapter examines what we know and don’t know about videos and learning. It begins with detailed reviews of the theory and research on videos and the brain and multimedia learning. -
Netflix and the Development of the Internet Television Network
Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation. -
05 Earnings Call
Disney’s Q4 and fiscal ’05 Earnings Call NOVEMBER 17, 2005 Disney Speakers: Bob Iger President and Chief Operating Officer and CEO-Elect, The Walt Disney Company Tom Staggs Chief Financial Officer, The Walt Disney Company Moderated by, Wendy Webb Sr. Vice President, Investor Relations and Shareholder Services, The Walt Disney Company Page 1 Q4 and Fiscal ’05 Earnings Call November 17, 2005 Operator Good day ladies and gentlemen. Thank you for standing by, and welcome to the Walt Disney Company's fourth quarter 2005 earnings conference call. My name is Carlo, and I will be your coordinator for today's presentation. At this time, all participants are in a listen- only mode. We will be facilitating a question and answer session towards the end of today's prepared remarks. [OPERATOR INSTRUCTIONS] It is now my pleasure to turn the presentation over to your host for today's conference, Wendy Webb, Senior Vice President of Investor Relations and Shareholder Services. Please proceed. Wendy Webb - Walt Disney - SVP, IR, Shareholder Services Thank you. Good afternoon and thanks for joining us. On the call with us today are Bob Iger, President and Chief Executive Officer, and Chief Financial Officer, Tom Staggs. Bob will lead off followed by Tom. Then we will open up the call to you for Q&A. We’ll try our best to conclude the call before 5:30 p.m., Eastern Time. So let's get started. Bob? Bob Iger - Walt Disney - President, CEO Thanks, Wendy. I'm pleased to report that we achieved our goal of delivering double-digit EPS growth for the year, despite the challenges we faced in the studio in the fourth quarter. -
Desperate Housewives Television Show Made to the Federal Communications Commission (FCC), Washington, D.C., 2004 - 2007
Description of document: Informal complaints about Desperate Housewives television show made to the Federal Communications Commission (FCC), Washington, D.C., 2004 - 2007 Requested date: 29-November-2007 Released date: 15-January-2008 Posted date: 27-January-2008 Date/date range of document: 04-October-2004 – 10-December-2007 Source of document: Federal Communications Commission 445 12th Street, S.W., Room 1-A836 Washington, D.C. 20554 Phone: 202-418-0440 or 202-418-0212 Fax: 202-418-2826 or 202-418-0521 E-mail: [email protected] The governmentattic.org web site (“the site”) is noncommercial and free to the public. The site and materials made available on the site, such as this file, are for reference only. The governmentattic.org web site and its principals have made every effort to make this information as complete and as accurate as possible, however, there may be mistakes and omissions, both typographical and in content. The governmentattic.org web site and its principals shall have neither liability nor responsibility to any person or entity with respect to any loss or damage caused, or alleged to have been caused, directly or indirectly, by the information provided on the governmentattic.org web site or in this file. Federal Communications Commission Consumer & Governmental Affairs Bureau Washington, D.C. 20554 January 15,2008 FOIA 2008-093 This letter responds to your Freedom of Information Act ("FOIA") request received by the Federal Communications Commission (the "FCC" or "Commission") and assigned to the Consumer & Governmental Affairs Bureau ("CGB") and the Enforcement Bureau (EB) by the Commission's FOIA Office on November 29,2007. -
Your Best Source for Local Entertainment Information
Page 6 THE NORTON TELEGRAM Tuesday, March 21, 2006 Monday Evening March 27, 2006 7:00 7:30 8:00 8:30 9:00 9:30 10:00 10:30 11:00 11:30 KHGI/ABC Wife Swap SuperNanny Miracle Workers Local Local Jimmy K KBSH/CBS King/Que How I Met 2 1/2 Men Christine CSI Miami Local Late Show Late Late KSNK/NBC Deal or No Deal Apprentice Medium Local Tonight Show Conan FOX Prison Break 24 Local Local Local Local Local Local Cable Channels A & E Flip This House First Person Killers Rollergirls Crossing Jordan Flip This House AMC The Silence of the Lambs Point Of No Return ANIM Animal Precinct Miami Animal Police Heroes Phoenix Animal Precinct Miami Animal Police CNN Paula Zahn Now Larry King Live Anderson Cooper Larry King Norton TV DISC Monster Garage American Hotrod American Chopper American Chopper Monster Garage DISN Disney Movie Raven Sis Bug Juice Lizzie Boy Meets Even E! Dr. 90210 Howard Stern The Soup ESPN Women's Basketball College Gameday ESPN2 Tennis Knight School Women's Quite Frankly FAM Wildfire Beautiful People Whose LI Whose Lin 700 Club Wildfire FX Ice Age That 70's Ice Age HGTV CashAttic Dream Worlds M Hunters In House Hu Designed Dime DoubleTa CashAttic Dream HIST UFO Files Digging For The Truth Deep Sea Detectives History's Mysteries UFO Files LIFE Widow on the Hill Black Widow Frasier Frasier Will/Grace Will/Grace MTV Wild 'N Out RW/RR & Back Made Wild 'N Out Listings: NICK SpongeBo Drake Full Hous Full Hous Threes Threes Threes Threes Threes Threes SCI Jurassic Park Dark Kingdom Dark Kingdom SPIKE CSI UFC Unleashed Pros Vs. -
The Electrical Transformation of the Public Sphere: Home Video, the Family, and the Limits of Privacy in the Digital Age
THE ELECTRICAL TRANSFORMATION OF THE PUBLIC SPHERE: HOME VIDEO, THE FAMILY, AND THE LIMITS OF PRIVACY IN THE DIGITAL AGE By Adam Capitanio A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY American Studies 2012 ABSTRACT THE ELECTRICAL TRANSFORMATION OF THE PUBLIC SPHERE: HOME VIDEO, THE FAMILY, AND THE LIMITS OF PRIVACY IN THE DIGITAL AGE By Adam Capitanio One of the constituent features of the digital age has been the redrawing of the line between private and public. Millions of social media users willingly discuss intimate behavior and post private photographs and videos on the internet. Meanwhile, state and corporate bodies routinely violate individual privacy in the name of security and sophisticated marketing techniques. While these occurrences represent something new and different, they are unsurprising given the history of home and amateur media. In this dissertation, I argue that contemporary shifts in the nature of the public/private divide have historical roots in the aesthetics and style found in home movies and videos. In other words, long before Facebook and YouTube enabled users to publicly document their private lives, home movies and videos generated patterns of representation that were already shifting the unstable constitution of the “private” and the “public” spheres. Using critical theory and archival research, I demonstrate how home moviemakers represented their families and experiences in communal and liminal spaces, expanding the meaning of “home.” When video become the predominant medium for domestic usage, home mode artifacts became imbricated with television, granting them a form of phantasmagoric publicity that found fulfillment in the digital era. -
Mom in the Middle, Can Not Bring Daughter and Husband Together DEAR ABBY: I Was Recently Mar- Want to Tell Them Who Did It
The Goodland Star-News / Friday, September 1, 2006 5 Mom in the middle, can not bring daughter and husband together DEAR ABBY: I was recently mar- want to tell them who did it. I really coming a young woman, and sharing transsexual. Your friend needs under- BRENDA IN AUSTIN, TEXAS ried. I have a daughter, “Courtney,” abigail need some advice. — HURTING IN a bed with her father could be too standing, not isolation. DEAR BRENDA: The type of par- from a previous relationship. Things van buren HAYWARD, CALIF. stimulating, for both of them. If he has By all means he should see a psy- ties you have described are more for were great before the wedding. We DEAR HURTING: Pick up the further doubts about this, he should chiatrist — one who specializes in adults than for children. It is more even included Courtney in the plan- phone and call the Rape, Abuse and consult his daughter’s pediatrician. gender disorders. He should have important that your little girl be able ning. Afterward, however, things Incest National Network (RAINN). DEAR ABBY: About a month ago, counseling if he wants to take this to enjoy her birthday with some of dear abby turned sour. • The toll-free number is (800) 656- I was shocked out of my shoes. My where it is heading, and also to cope HER friends than it be a command Courtney kept causing problems 4673. Counselors there will guide you longtime friend, “Orville,” told me he with the loss of his friends. It would performance for your sisters. -
A Supercut of Supercuts: Aesthetics, Histories, Databases
A Supercut of Supercuts: Aesthetics, Histories, Databases PRACTICE RESEARCH MAX TOHLINE ABSTRACT CORRESPONDING AUTHOR: Max Tohline The genealogies of the supercut, which extend well past YouTube compilations, back Independent scholar, US to the 1920s and beyond, reveal it not as an aesthetic that trickled from avant-garde [email protected] experimentation into mass entertainment, but rather the material expression of a newly-ascendant mode of knowledge and power: the database episteme. KEYWORDS: editing; supercut; compilation; montage; archive; database TO CITE THIS ARTICLE: Tohline, M. 2021. A Supercut of Supercuts: Aesthetics, Histories, Databases. Open Screens, 4(1): 8, pp. 1–16. DOI: https://doi.org/10.16995/os.45 Tohline Open Screens DOI: 10.16995/os.45 2 Full Transcript: https://www.academia.edu/45172369/Tohline_A_Supercut_of_Supercuts_full_transcript. Tohline Open Screens DOI: 10.16995/os.45 3 RESEARCH STATEMENT strong patterning in supercuts focuses viewer attention toward that which repeats, stoking uncritical desire for This first inklings of this video essay came in the form that repetition, regardless of the content of the images. of a one-off blog post I wrote seven years ago (Tohline While critical analysis is certainly possible within the 2013) in response to Miklos Kiss’s work on the “narrative” form, the supercut, broadly speaking, naturally gravitates supercut (Kiss 2013). My thoughts then comprised little toward desire instead of analysis. more than a list; an attempt to add a few works to Armed with this conclusion, part two sets out to the prehistory of the supercut that I felt Kiss and other discover the various roots of the supercut with this supercut researchers or popularizers, like Tom McCormack desire-centered-ness, and other pragmatics, as a guide. -
Using Film and Television to Instruct an Organizational Behavior Course Tom Kernodle, Touro University International and Berkeley College, USA
American Journal of Business Education – November 2009 Volume 2, Number 8 Effective Media Use: Using Film And Television To Instruct An Organizational Behavior Course Tom Kernodle, Touro University International and Berkeley College, USA ABSTRACT Media can be used to effectively teach Organizational Behavior (OB) concepts at the college level. University instructors have the option to employ several different methods of teaching in order to convey course concepts in the classroom. This article describes the effectiveness that five particular pieces of media can have on active learning in an undergraduate OB class. The films For Love of the Game, 300, and 12 Angry Men, as well as the episode All Due Respect of the television series The Sopranos and the episode Did I Stutter? of the television series The Office, will be analyzed. This article provides a background on each piece of media, as well practical suggestions on how to use them to instruct OB. Keywords: Organizational Behavior, Management Education, Media Use INTRODUCTION edia can be used to effectively teach Organizational Behavior (OB) concepts at the college level. University instructors have the option to employ several different methods of teaching in order to convey course concepts in the classroom. Various methods of pedagogy can be used to instruct MOB courses, such as review and discussion questions, point-counterpoint debates, individual and group exercises, ethical dilemma exercises, case incidences and video cases, and an integrative part-ending case (Robbins, 1998). College instructors face an ongoing challenge to find effective methods of teaching course topics to students. Textbooks lay the foundation for the concepts and theories pertaining to a particular subject, but it is the responsibility of the instructor to effectively convey these ideas to the students. -
Video Production 101: Delivering the Message
VIDEO PRODUCTION VIDEO PRODUCTION 101 101 Delivering the Message Antonio Manriquez & Thomas McCluskey VIDEO PRODUCTION 101 Delivering the Message Antonio Manriquez & Thomas McCluskey Video Production 101 Delivering the Message Antonio Manriquez and Thomas McCluskey Peachpit Press Find us on the Web at www.peachpit.com To report errors, please send a note to [email protected] Peachpit Press is a division of Pearson Education Copyright © 2015 by Antonio Jesus Manriquez and Thomas McCluskey Senior Editor: Karyn Johnson Development Editor: Stephen Nathans-Kelly Senior Production Editor: Tracey Croom Copyeditor and Proofreader: Kim Wimpsett Compositor: Danielle Foster Indexer: Jack Lewis Interior Design: Danielle Foster Cover Design: Aren Straiger Notice of Rights All rights reserved. No part of this book may be reproduced or transmitted in any form by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. For information on getting permission for reprints and excerpts, contact [email protected]. Notice of Liability The information in this book is distributed on an “As Is” basis without warranty. While every precaution has been taken in the preparation of the book, neither the authors nor Peachpit shall have any liability to any person or entity with respect to any loss or damage caused or alleged to be caused directly or indirectly by the instructions contained in this book or by the computer software and hardware products described in it. Trademarks Many of the designations used by manufacturers and sellers to distinguish their products are claimed as trademarks. Where those designations appear in this book, and Peachpit was aware of a trademark claim, the designations appear as requested by the owner of the trademark.