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HBO: Brand Management and Subscriber Aggregation: 1972-2007

1 HBO: Brand Management and Subscriber Aggregation: 1972-2007 Submitted by Gareth Andrew James to the University of Exeter as a thesis for the degree of Doctor of Philosophy in English, January 2011. This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. ........................................ 2 Abstract The thesis offers a revised institutional history of US cable network Home Box Office that expands on its under-examined identity as a monthly subscriber service from 1972 to 1994. This is used to better explain extensive discussions of HBO‟s rebranding from 1995 to 2007 around high-quality original content and experimentation with new media platforms. The first half of the thesis particularly expands on HBO‟s origins and early identity as part of publisher Time Inc. from 1972 to 1988, before examining how this affected the network‟s programming strategies as part of global conglomerate Time Warner from 1989 to 1994. Within this, evidence of ongoing processes for aggregating subscribers, or packaging multiple entertainment attractions around stable production cycles, are identified as defining HBO‟s promotion of general monthly value over rivals. Arguing that these specific exhibition and production strategies are glossed over in existing HBO scholarship as a result of an over-valuing of post-1995 examples of „quality‟ television, their ongoing importance to the network‟s contemporary management of its brand across media platforms is mapped over distinctions from rivals to 2007.
City Research Online

Keeble, R. (1996). The Gulf War myth: a study of the press coverage of the 1991 Gulf conflict. (Unpublished Doctoral thesis, City University London) City Research Online Original citation: Keeble, R. (1996). The Gulf War myth: a study of the press coverage of the 1991 Gulf conflict. (Unpublished Doctoral thesis, City University London) Permanent City Research Online URL: http://openaccess.city.ac.uk/7932/ Copyright & reuse City University London has developed City Research Online so that its users may access the research outputs of City University London's staff. Copyright © and Moral Rights for this paper are retained by the individual author(s) and/ or other copyright holders. All material in City Research Online is checked for eligibility for copyright before being made available in the live archive. URLs from City Research Online may be freely distributed and linked to from other web pages. Versions of research The version in City Research Online may differ from the final published version. Users are advised to check the Permanent City Research Online URL above for the status of the paper. Enquiries If you have any enquiries about any aspect of City Research Online, or if you wish to make contact with the author(s) of this paper, please email the team at [email protected]. The Gulf war myth A study of the press coverage of the 1991 Gulf conflict by Richard Keeble PhD in Journalism May 1996; Department of Journalism, City University, London CONTENTS Abstract ix Acknowledgements x Introduction xi-iii A.1 The war problematic xi
CURRICULUM VITAE MARGARET DRAGU 9871 Dyke Road Finn Slough, Richmond, BC, Canada; V7A 2L5 1-604-272-7239 Email: [email protected]

CURRICULUM VITAE MARGARET DRAGU 9871 Dyke Road Finn Slough, Richmond, BC, Canada; V7A 2L5 1-604-272-7239 email: [email protected] VERB WOMAN: mending aktion Western Front Dance Studio, Vancouver, BC; July 2010 CRAM Gallery, St. Catharines, Ontario, May 2010 Hamilton Artists’ Inc., Hamilton, Ontario; May 2010 Gallery Gachet, Vancouver, BC; August 2009 Centre A Gallery, Vancouver, BC; July 2009 VERB WOMAN: a kaleidescopic history Present Response, Gallery Lambton, Sarnia, Ontario; May 2010 VERB WOMAN: unraveling (romance & the anthemic) Not Sent Letters Project for Sparticus Books, Vancouver, BC; February 2010 VERB WOMAN: a dance of forgetting with Paul Couillard, LIVE ! Biennale, VIVO, Vancouver, BC; October 2009 MARGINALIA (Installation/Performance with Pam Hall of St. John’s, Nfld) Faucet Studio Residency, Struts Gallery, Sackville, NB; October 2008 Richmond Art Gallery, Richmond, BC, Sept – Nov 2008 LIVE! Biennale, grunt Gallery, Vancouver, BC, Nov 2005 LADY JUSTICE (PILLOWBOOK and various site-specific works) 2010 Peace Project, Richmond Women’s Centre/Memories Thrift Store, Feb 2010 ROSE Memorial for 20 th Anniversary Montreal Massacre, Vancouver, BC; Dec 2009 Richmond Art Gallery (with Payday Millionaire), Richmond, BC; September 2009 Revista Sin Texto: Dia Internacional del Reloj, South American Web, August 2008 Visualeyez Festival (Gallery Latitude 53), Edmonton, Alberta, July 2008 Hive 2 Festival, grunt Gallery & Magnetic North, Vancouver, BC, June 2008 grunt Gallery, Vancouver, BC, November 2007 Box Salon (The Rivoli), Toronto,
Colin Campbell CV EXHIBITIONS (Selected) 2001 Saw Gallery, Ottawa, Ontario (Solo)

Colin Campbell CV EXHIBITIONS (selected) 2001 Saw Gallery, Ottawa, Ontario (Solo) 2000 Magnetic North-Experimental Canadian Video', Tour, Walker Art Centre, Minneapolis, Minnesota. Catalogue. Art Gallery Of Ontario, Toronto 'Between Geography and Imagination', Trinity Square Video, Toronto, Screening/Panel. 'Borderstasis', University of Toronto 'Disheveled Destiny World Premier', Owen's Art Gallery, Sackville, N.B. 1999 Appropriate Behaviour, British/Canadian Video Exchange, London, England. Catalogue. Tranz-Tech, Toronto International Video Art Biennial. Catalogue. ‘Fragile Electrons’ National Gallery of Canada: Toured: Art Gallery of Nova Scotia, Mendel Art Gallery. Catalogue. ‘Possible Maps’ Vtape, Toronto. Catalogue. 1998 ‘La Quizaine de la Video’, Videograph, Montreal. ‘New Toronto Works’, Pleasure Dome, Toronto ‘Picturing Toronto-The Queen Street Years’, Power Plant, Toronto. Catalogue. C Magazine 12 page insert., issue #59, Sept.-Nov. Toronto Life magazine. ‘Close Encounters/Contacts Time’, Ottawa Art Gallery Art Gallery of York University, Toronto. 1997 ‘Synthetica’, Walter Phillips Gallery, Banff 'Flaming Creatures', Agnes Etherington Arts Centre, Kingston. Catalogue. Concordia University, Montreal Jury Member, Exhibition Committee for: Alex Wilson Community Project Design Competition, The Design Exchange, Toronto Premier of ‘Rendez-Vous’ at ‘So High I Could Almost See Eternity’ Symposium on Performance Art, Mount Allison University 1996 Vancouver Art Gallery, Vancouver. Love Gasoline, Mercer Union, Toronto. Video Art Plastique, Centre d'Art Contemporain de Basse Normandie, France. 1995 ‘Pressing The Flesh’, Toronto Photographers Workshop, Toronto Solo: Colin Campbell: Early Tapes, Art Gallery of Ontario, Toronto 1994 Art Video Art, TVO Broadcast Television, Toronto Wexner Centre for the Arts, Columbus, Ohio World Conference on AIDS, Berlin Rutgers University, New Brunswick, N. J. New York University, New York EM Media, Calgary Budapest Gay and Lesbian Festival Pyramid Arts Centre, Rochester, New York.
From: Reviews and Criticism of Vietnam War Theatrical and Television Dramas ( Compiled by John K

From: Reviews and Criticism of Vietnam War Theatrical and Television Dramas (http://www.lasalle.edu/library/vietnam/FilmIndex/home.htm) compiled by John K. McAskill, La Salle University ([email protected]) P4020 PIRATES OF SILICON VALLEY (USA, 6/20/1999) [TV] Credits: director/writer, Martyn Burke. Cast: Noah Wyle, Anthony Michael Hall, Joey Slotnick. Summary: Docudrama/biographical film set in California from the early 1970s thru the 1984. Steve Jobs (Wyle) and Bill Gates (Hall) pioneered an industry that literally transformed the entire world. The passion, luck and genius, greed and ambition of these quirky visionaries is explored in this saga of their decades long battle to rule the personal computer world. There are references to the Vietnam War. Bark, Ed. “Beware of geeks bearing chips: ‘Pirates’ captures their ruthlessness” The record [Bergen, NJ] (Jun 20, 1999), p. Y3. Bianco, Robert, “Computer moguls’ saga misses emotional keys” USA today (Jun 18, 1999), p. E01. Brown, Janelle. “The great Silicon Valley soap opera” Salon.com (Jun 17, 1999) Callaghan, Dennis. “The revolution will be televised” MC technology marketing intelligence 19/6 (Jun 1999), p. 13. Dane, Will. “Pirates of Silicon Valley” Rolling stone n. 816-817 ((Jul 8-22, 1999), p. 161. Garron, Barry. “Pirates of Silicon Valley” Hollywood reporter (Jun 17, 1999), p. ? Gates, Anita. “Television/radio: Just wild and crazy geeks” New York times (Jun 13, 1999), sec. 2, p. 29. Gilbert, Matthew. “Nerds of a feather: ‘Pirates’ has fun with computer rivals Jobs and Gates” Boston globe Gorman, Jim. “Television/radio: Celebrating the ultra-rich computer nerd” New York times (Jun 13, 1999), sec.
The BG News November 7, 1986

Bowling Green State University ScholarWorks@BGSU BG News (Student Newspaper) University Publications 11-7-1986 The BG News November 7, 1986 Bowling Green State University Follow this and additional works at: https://scholarworks.bgsu.edu/bg-news Recommended Citation Bowling Green State University, "The BG News November 7, 1986" (1986). BG News (Student Newspaper). 4581. https://scholarworks.bgsu.edu/bg-news/4581 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Article is brought to you for free and open access by the University Publications at ScholarWorks@BGSU. It has been accepted for inclusion in BG News (Student Newspaper) by an authorized administrator of ScholarWorks@BGSU. Welcome, Mom and Dad! Have a great Parent's Weekend! THE BG NEWS Vol. 69 Issue 43 Bowling Green, Ohio Friday, November 7,19M Military aid to Iran reported in hostage deal WASHINGTON (AP) - President Reagan yes- to us has no foundation, that all of that is making it White House national security adviser Robert The shipments, made with the personal appro- terday tried to quell reports that his administra- more difficult for us in our effort to get the other McFarlane had visited Tehran, had been confined val of Reagan, began last year and led to the tion helped win the 'release of three hostages held hostages free." to his hotel room and then expelled. McFarlane release of three American hostages, most recently in Lebanon by aiding the transfer of defense Later, White House spokesman Albert Brashear carried a message from Reagan, said Rafsanjani. David Jacobsen, who was freed last Sunday by supplies by Israel to Iran.
After the Rain

After the Rain Dir: Takashi Koizumi, Japan/France, 1999 A review by Shulamit Almog, University of Haifa, Israel After the Rain is Takashi Koizumi's feature film debut, made in 1999, Shoji Ueda and Takao Saito as cinematographers. Akira Kurosawa wrote the screenplay, and Takashi Koizumi, who pays the late Japanese master a tribute in this film, attempted to make a film from Kurosawa's script, as he would have wished. The tribute quality of the film manifests itself most eminently when one puts After the Rain alongside Rashomon, Kurosawa's 1950 masterpiece, that is still possibly the best known Japanese film outside Japan. On the face of it, there is not much in common between the sombre, infinitely intriguing Rashomon and the delightful, lighthearted and light flooded After the Rain. In actual fact, there is a delicate web of links and connections between those two articulations, that correspond with each other. In both films most characters participate in several forms of judging, formal and informal, external and internal. They all judge and are being judged, cast adjudication and are subjected to it. In Rashomon a formal trial is depicted, alongside the internal ones. In After the Rain there is no formal trial, but all characters involved perform continuous ethical judgments of themselves and others. Rashomon begins in rain and ends with rain. Three people, who find shelter from the rain under the Rashomon gate, engage in narration. Two crimes -- a murder of a Samurai and rape of his wife -- are presented four times, in four different ways. The people at the gate renarrate the story of the formal judgment, where the different versions were first narrated, and, while doing so, judge the narrators, the characters of the narrative, and themselves.
Dance in Canada Magazine No 48 Summer 1986

Lawrence Adams 145 George St. Toronto ON M5A 2M6 -----~~~~· ~1:,. ~ .. (V O V N V O) ~ s •~J. B / ? A N A D A) Published quarterly by the Dance in Canada Association. Issue Number 48 Summer 1986 Ete June/juin Steve Dymond COVER STORY: Executive Director 4 Christopher House: Susan Hilary Cohen A Choreographer Fascinated With Structure Founding Editor and Form Sandra Evan-J ones Pat Kaiser Editor Robert Donald 12 Vancouver DANCEWEEK 1986: Art Director Does It Reflect a Cultural Coming-of-Age? Patty Margolcse Jamil Brownson A dv ertising Rep 1'esentative Circulation Manager 21 Talking With Susan Macpherson © Copyright by the Dance in Canada Association. Paula Citron All rights reserved. The views expressed in this publication do not necessarily refkct thost of the Dance in Canada Association. Erik Bruhn 1928-1986 Dance in Canada publishes articles in offu:ial language of origin. 26 Unsolicited manuscripts should be accompanied by a stamped, self-addressed envelope. While the publishers will take all DANCE ON TRACKIDANSE reasonable care, Dance in Canada will not be responsible for loss 28 of or damage to unsolicited materials. ENTR'ACTE Address all corresponde,,ce to Dance in Canada, 38 Charles Street East, Toronto, Ontario M4Y 1 Tl. Shaping the Climate of the Dance Community (416) 921-5169. Today and Tomorrow Second class mail regislracion number 03874. Return postage guaranteed. Cathy Levy and Julie Poskitt The publication of Dance in Canada is made possible, in part, with the assistance of the Governmem of Canada through the Department ofCommunicatiom and 1/ie Canada Council; the 39 Dance at the Canada Pavilion: Govern ment of Ontario througl-, the .\1inistry of Citizenship and C ultu re and the O ntario Arts Council; the Govern ment of On View for the World at Expo 86 Alberta thro uih Alberta C ulture; the City of Toronto th roug h the T oronto Arts Council; and the Municipality of Metropolitan Cathy Levy Toro nto.
Pirates of Silicon Valley Hd

Pirates of silicon valley hd Watch online free Pirates Of Silicon Valley, Anthony Michael Hall, Noah Wyle, Joey Slotnick. Get updated once this movie is available in HD. Subscribe now. Pirates of Silicon Valley depicts history of Apple and Microsoft, the accomplishments of visionaries Steve Jobs (Noah Wyle) and Bill Gates (Anthony Michael. Pirates of Silicon Valley: Pirates of Silicon Valley depicts history of Apple and Microsoft, the accomplishments. Watch Pirates Of Silicon Valley Online | pirates of silicon valley | Pirates Of Silicon Valley (), Die. Newest first. Dakota Sienna Olivia5 months ago. Watch Pirates of Silicon Valley () Full Movie ⇨ http://wq. In Pirates of Silicon Valley, the abnormal and eccentric visionaries Apple co- founder Steve Jobs and Microsoft co-founder Bill Gates - the Silicon Valley's great. Pirates of Silicon Valley Steve Jobs (Noah Wyle) is speaking with director Ridley Scott (J. G. Hertzler), about the creation of the commercial Quality: HD. This is "Pirates of Silicon Valley 1 - rukmaster HD HD" by GoPhuketTour on Vimeo, the home for high. Buy Pirates of Silicon Valley: Read Movies & TV Reviews - or "Where can I download Pirates Of Silicon Valley online for free?", because well. It's all here Favorite. FavoriteClose. Download in HD Comment (0) Report. ×. Pirates of Silicon Valley () โจรสลัดแหง่ หบุ เขาซลิ คิ อน ดหู นังออนไลน ์ HD พากยไ์ ทย เต็มเรอื ง มาสเตอร ์ ดหู นังHD ดหู นังใหม่ หนัง ดหู นังฟร ี ดหู นัง เว็บดหู นังออนไลน์. : Pirates of Silicon Valley: Noah Wyle, Anthony Michael Hall, Michael Anthony Hall, Joey Slotnick, John DiMaggio, John Di Maggio, Josh Hopkins. Pirates of Silicon Valley full movies, watch Pirates of Silicon Valley stream full P HD free movies online , Pirates of Silicon.
Fair Game Music Credits

Music Ashley Irwin Music Engineered & Mixed by David Cafe Recorded at Earth Studios and Reel Time Studios Music Editor Marty Irwin Drums and Percussion Joe Tattersall Guitar Eddie Hansen Synthesisers Ashley Irwin 'Seeing Things' Composed by Ashley Irwin and Terry McCarthy Sung by The Black Crow 'I Can Fly' Composed by Terry McArthy and Ashley Irwin Sung by Keren Corby Lyrics for the song over tail credits: Hey look at me I will survive I am a miracle of life Things I could do Things I could be They're all hiding here in me But now I have wings to fly There's nothing I should fear For stars are in my eyes Instead of tears I can fly I can take on the world If I take to the skies I can fly Fly so high And this feeling inside Makes me glad I'm alive (musical interlude) And as much as the teasing starts I have a right to be And the longer I wonder why It's all becoming clear I can fly I can take on the world If I take to the skies I can fly Fly so high And this feeling inside Makes me know I'll survive I can fly I can fly I can take on the world If I take to the sky … Composer Ashley Irwin: Ashley Irwin would go on to a long career in the United States as composer, arranger and conductor. At time of writing, he had an eponymous website here. It contained this biography: Emmy® award-winner ASHLEY IRWIN is one of Hollywood's most versatile composers and arrangers.
Docudrama Performs the Past: Arenas of Argument in Films Based on True Stories

Docudrama Performs the Past Docudrama Performs the Past: Arenas of Argument in Films based on True Stories By Steven N. Lipkin Docudrama Performs the Past: Arenas of Argument in Films based on True Stories, by Steven N. Lipkin This book first published 2011 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2011 by Steven N. Lipkin Chapter Seven taken from " Strange Justice : Sounding Out the Right: Clarence Thomas, Anita Hill, and Constructing Spin in the Name of Justice." Jump Cut 48:2006: http://www.ejumpcut.org/archive/ jc48.2006/ClarThomas/index.html Chapter Eight taken from Ethics and Entertainment: Essays on Media Culture and Media Morality © 2010. Edited by Howard Good and Sandra L. Borden. By kind permission of McFarland & Company Inc., Box 611, Jefferson NC 28640 (www.mcfarlandpub.com). Chapter Eleven taken from “‘Movie-of-the-Week’ Docudrama, ‘Historical Event’ Television and Steven Spielberg’s Series Band of Brothers ”. New Review of Film and Television Studies 7:1 93-107 © 2001. Edited by Derek Paget and Steven N. Lipkin. By kind permission of Taylor and Francis Group (http://www.informaworld.com). Chapter Twelve taken from The Relatable Real: Docudrama, Ethics, and Saving Jessica Lynch. © Jump Cut ("The Relatable Real: Docudrama, Ethics, and Saving Jessica Lynch ." Jump Cut 47:2005: http://www.ejumpcut.org/archive/jc47.2005/lipkin/index.html ) All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner.
2004-2005.Pdf

Ryan 29 acquisitions pour le catalogue, 50 bibliothèques partenaires, 204 prix remportés,135 productions originales de l’ONF et coproductions, 291 films du secteur privé ayant reçu de l’aide à la production de l’ONF (ACIC et FAP), 3 259 projections (salles commerciales, de répertoire et communautaires), 2 063 télédiffusions au Canada, 23 890 membres du Cinéclub ONF, 73 983 vidéocassettes, DVD et produits multimédias vendus au Canada, 80446 films vus aux postes de visionnage individuels dans les médiathèques de l’ONF (Montréal et Toronto), 259 643 spectateurs des films de l’ONF aux projections publiques, 205 648 visiteurs aux centres ONF (Montréal et Toronto), 197142 films, vidéo- cassettes et DVD prêtés et loués (ONF et partenaires), 8 539 000 téléspectateurs des films de l’ONF à la télévision, 44045864 impressions de pages du site www.onf.ca 29 Catalogue Acquisitions, 50 Partner Libraries, 204 Awards, 135 Original NFB Productions and Co-productions, 291 Independent Film Projects Supported by the NFB (FAP and ACIC), 3,259 Screenings (Commercial, Repertory and Community Theatres), 2,063 Television Broadcasts in Canada, 23,890 NFB Film Club Members, 73,983 Videocassettes, DVDs and Multimedia Products Sold in Canada, 80,446 Films Screened on Personal Viewing Stations in NFB Mediatheques, 259,643 Viewers at Public Screenings of NFB Films, 205,648 Visitors to NFB Mediatheques (Montreal and Toronto), 197,142 Film, Video and DVD Loans or Rentals (NFB and Partners), 8,539,000 TV Viewers of NFB Films, 44,045,864 Page Impressions of www.nfb.ca