Congressional Record—Senate S13810
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The Norman Conquest: the Style and Legacy of All in the Family
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Boston University Institutional Repository (OpenBU) Boston University OpenBU http://open.bu.edu Theses & Dissertations Boston University Theses & Dissertations 2016 The Norman conquest: the style and legacy of All in the Family https://hdl.handle.net/2144/17119 Boston University BOSTON UNIVERSITY COLLEGE OF COMMUNICATION Thesis THE NORMAN CONQUEST: THE STYLE AND LEGACY OF ALL IN THE FAMILY by BAILEY FRANCES LIZOTTE B.A., Emerson College, 2013 Submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts 2016 © 2016 by BAILEY FRANCES LIZOTTE All rights reserved Approved by First Reader ___________________________________________________ Deborah L. Jaramillo, Ph.D. Assistant Professor of Film and Television Second Reader ___________________________________________________ Michael Loman Professor of Television DEDICATION This thesis is dedicated to Jean Lizotte, Nicholas Clark, and Alvin Delpino. iv ACKNOWLEDGMENTS First, I’m exceedingly thankful for the guidance and patience of my thesis advisor, Dr. Deborah Jaramillo, whose investment and dedication to this project allowed me to explore a topic close to my heart. I am also grateful for the guidance of my second reader, Michael Loman, whose professional experience and insight proved invaluable to my work. Additionally, I am indebted to all of the professors in the Film and Television Studies program who have facilitated my growth as a viewer and a scholar, especially Ray Carney, Charles Warren, Roy Grundmann, and John Bernstein. Thank you to David Kociemba, whose advice and encouragement has been greatly appreciated throughout this entire process. A special thank you to my fellow graduate students, especially Sarah Crane, Dani Franco, Jess Lajoie, Victoria Quamme, and Sophie Summergrad. -
H1 2019 Trends and Opportunities What’S Trending in Social TV: H1 2019
What’s Trending In Social TV H1 2019 Trends and Opportunities What’s Trending In Social TV: H1 2019 The state of social media for TV has been strong so far in 2019. Total Fan Growth for TV pages across Facebook, Twitter and Instagram is up 29% in the first half of 2019 compared to the second half of 2018, while social engagement increased 15% during the same time period. For Facebook, that largely means TV pages continue to recover from the algorithm changes in early 2018 that significantly limited organic reach. As TV focuses on strengthening engagement with their fanbase as opposed to just growing it, Facebook response rate and video views were up in the first half of 2019, inching back to pre-algorithm change levels. It’s a similar story for Twitter, where the TV space needed to alter their strategies following a mid-2018 purge of fake and dormant users. While the volume of tweets from TV accounts was down in the first half of 2019, the “less is more” strategy has been paying off. In Q2 2019, the average number of video views for TV hit its highest peak since the beginning of 2017. Meanwhile, the success of Instagram Stories is something TV Pages are taking advantage of in 2019. The volume of Instagram Stories published by TV accounts increased by 176% comparing Q2 2019 to Q1 2018. TV has also seen substantial growth on YouTube halfway through 2019, with fan counts and video views on the platform up 45% and 28% respectively, comparing H1 2019 to H1 2018. -
Promote Or Protect? Perspectives on Media Literacy and Media Regulations
Promote Yearbook 2003 Promote or Protect? or Protect? and Media Regulations Media and Literacy Media on Perspectives Perspectives on Media Literacy The International Clearinghouse on Children, Youth and Media and Media Regulations A UNESCO Initiative 1997 Editors: Cecilia von Feilitzen and Göteborg University Nordic Council of Ministers Ulla Carlsson and Ulla Carlsson (eds.) Carlsson Ulla and Feilitzen von Cecilia NORDICOM Göteborg University Box 713 The International Clearinghouse on SE 405 30 GÖTEBORG Children, Youth and Media Tel. +46 31 773 10 00. Fax +46 31 773 46 55 E-mail: [email protected] NORDICOM www.nordicom.gu.se Göteborg University ISSN 1403-4700 Yearbook ISBN 91-89471-23-7 2003 The International The International Clearinghouse Published yearbooks Clearinghouse on Children, on Children, Youth and Media Youth and Media, at One of the most important tasks of The International A UNESCO INITIATIVE 1997 Nordicom Clearinghouse on Children, Youth and Media is publication of its yearbook. Göteborg University Box 713 Five yearbooks have previously been released. SE 405 30 GÖTEBORG, Sweden In 1997, the Nordic Information Centre for Media and Communication Research (Nordicom), Göteborg Web site: Cecilia von Feilitzen & Ulla Carlsson (eds.): Cecilia von Feilitzen & Ulla Carlsson (eds): http://www.nordicom.gu.se University Sweden, began establishment of the Children, Young People and Media Children in the New Media Landscape. Games, International Clearinghouse on Children, Youth and DIRECTOR: Ulla Carlsson Globalisation. Yearbook -
Alediaccepted 47 C.F.R
.~ . " \'\~'{ '\ In the Matter of: ~ ccttf\tl~-- Great Plains Cable Television, Inc. )S CSR- 7c2/2--Z. Petition for Waiver of ~ ALEDIACCEPTED 47 C.F.R. § 76. 1204(a)(1) ~ MAY 3 12007 To: Chief, Media Bureau ) Federal Communications CommISSion Office of the Secretary PETITION FOR WAIVER OF 47 C.F.R. § 76.1204(a)(1) I. Introduction and Summary Great Plains Cable Television, Inc. ("Great Plains") is a small cable company providing cable services to approximately 10,000 subscribers in rural Nebraska. Pursuant to 47 U.S.C. § 549(c), and 47 C.F.R. §§ 1.3, 76.7 and 76.1207, Great Plains respectfully requests that the Commission grant a limited waiver of 47 C.F.R. § 76.1204(a)(1) for the following set-top boxes: • Motorola DCT-1000 series • Motorola DCT-2000 series • Motorola DSR-410 (collectively, "Low-Cost Set-Top Boxes").Great Plains requests that the waiVer remain effective until the earlier of (i) the commercial availability of non-integrated I set-top boxes compatible with one-way cable plant and Comcast's HITS seryice; 1 or (ii) Great Plains' upgrade of its systems to two-way cable plant. Great Plains can and will comply with 47 C.F.R. § 76.1204(a)(1) for the almost 50% of its subscribers who are currently served by two-way cable plant. No. of Copies rec'duO-,-__ UstABCDE 1 Currently, there are DQ such set-top boxes commercially available. 1 As required by the Commission's Second Report and Order, ~ GreatPlains attaches full specifications for the Low-Cost Set-Top Boxes as Exhibit 1. -
Public Viewing Packages CHANNEL LINEUPS Effective October 2019 3 COMMERCIAL XTRA™ PACK
user guide for bars and restaurants TABLE OF CONTENTS 1 Video 1 Using Your Remote Control 2 Your HD On-Screen Guide 3 Channel Lineups 6 Watch TV Your Way 7 Customized Entertainment 8 Ultimate Video & Sound Experiences 9 Sports 9 Exclusive Sports Programming 10 Popular Sports Packages 11 You're an MVP 12 Understanding Your Bill 13 Auto Bill Pay 14 Troubleshooting 16 DIRECTV for BUSINESSSM Remote App Using Your Remote Control VIDEO 1 TV Input Mode Cycles through the equipment Changes the remote’s MODE connected to your TV. to control other equipment. (Far left selection indicates the DIRECTV® Receiver.) Format Displays current screen FORMAT options and HD resolutions. O n / O ff (Works only with HD Access.) Turns both DIRECTV Receiver and TV ON or OFF at the same time. Stop (Remote must be programmed for TV. DVR still records when off .) STOP playback while viewing recorded program. Power Replay Turns On/Off POWER of whichever equipment is selected. REPLAY previous six seconds. Advance Rewind ADVANCE 30 seconds. REWIND at increasing speeds— press up to four times. Press and hold to jump to previous tick mark. Fast Forward FAST FORWARD at increasing speeds—press up to four times. Play PLAY current program. Exit EXIT the menu and return Pause to previous channel viewed. PAUSE current program. Blue Button Guide Display a one-line Channel Guide Press once for On-Screen GUIDE . while viewing your program. Press TWICE for programming grouped into categories. Yellow Button Red Button Display guide options while viewing Jump back 12 hours while the On-Screen Guide. -
Television Programming for Children: a Report of 'The Children's Televisiontask'fbrce
A ED 183 133 IR* 0Q8 034 AUTHOR GreenWle Susan And Others .TITLE TelevAsion Programming for Children: A Report:of the ChilOenfs Tc4evision Task'FOrce. .'eINSTITUTION. ,PeOral Communications CoMmissicn, 4tsh1ngton, PU 8 DAT h Ot79 NOTE 194p. .4 EDRS PRICE ! ME01/PCOB Plus Póstage. DESCRIPTOR& ^*Broadcast \Industry; nhildens Television; *Compliance (legal): *Educational Policy; Educational Television: *FefUral Regulation: Marketing; Rrograming (BroAdcast); Television Commercials: - Televislon Pel,earch IDENTrFIgRS *Federal Commun,ications,Comm ssion ABSTRACT These two volumes cf a 5-volume.repert cm commerAal* broadcaster complance with thy Federal COmmunications Commission (FCC) 1974 policies on programminil and advertising' to,chilffren provide an overall analysis of ctildrenos television, as well as a detailed analysis of'broadcas, industry compliance. The first volume reviews the social, cognItive, and.economic factors 'that affect t,he, amount, types, and scheduling of childrer0-s programs, and drscuses policy optionz open to 'the FCC with staff recommendationsl The ana14sis of broadcaster compliance dn the second volume il based on a A, series of studies examining the.policy impact on the overalla ount , ofProgramming designed for children 12 years_and under, the afnount sof educatIlertal programming, program SCheduling, and olbvercommerci&lizatibn on children's televisi6nind related advertising issues. The effectiveness of the preent license renewal form as a method of assessing crpliance is also examined. (CMV) 13 , f a. .. , *********************************************1*********************4*** * Repfilductio4S supplied-by EDPS Rre the best that can be made '* . 41% from the original documqnt. , 1 v 0. 1 U.S 'IMPARTMENT OF hEALTH. EDUCATION & WELFARE NATIONAL INSTITUTE OF EDUCATION e THIS. DOCUMENT HAS 'BEENRePRO. 04 DUCED EXACTIO, AA RECEIVED FROM THE PERSON OR ORGANIZATION ORIGIN. -
Gender Biased Hiding of Extraordinary Abilities in Girl-Powered Disney Channel Sitcoms from the 2000S
SECRET SUPERSTARS AND OTHERWORLDLY WIZARDS: Gender Biased Hiding of Extraordinary Abilities in Girl-Powered Disney Channel Sitcoms from the 2000s By © 2017 Christina H. Hodel M.A., New York University, 2008 B.A., California State University, Long Beach, 2006 Submitted to the graduate degree program in Film and Media Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Chair: Germaine Halegoua, Ph.D. Joshua Miner, Ph.D. Catherine Preston, Ph.D. Ronald Wilson, Ph.D. Alesha Doan, Ph.D. Date Defended: 18 November 2016 The dissertation committee for Christina H. Hodel certifies that this is the approved version of the following dissertation: SECRET SUPERSTARS AND OTHERWORLDLY WIZARDS: Gender Biased Hiding of Extraordinary Abilities in Girl-Powered Disney Channel Sitcoms from the 2000s Chair: Germaine Halegoua, Ph.D. Date Approved: 25 January 2017 ii ABSTRACT Conformity messaging and subversive practices potentially harmful to healthy models of feminine identity are critical interpretations of the differential depiction of the hiding and usage of tween girl characters’ extraordinary abilities (e.g., super/magical abilities and celebrity powers) in Disney Channel television sitcoms from 2001-2011. Male counterparts in similar programs aired by the same network openly displayed their extraordinariness and were portrayed as having considerable and usually uncontested agency. These alternative depictions of differential hiding and secrecy in sitcoms are far from speculative; these ideas were synthesized from analyses of sitcom episodes, commentary in magazine articles, and web-based discussions of these series. Content analysis, industrial analysis (including interviews with industry personnel), and critical discourse analysis utilizing the multi-faceted lens of feminist theory throughout is used in this study to demonstrate a unique decade in children’s programming about super powered girls. -
Mac 343 Radio/Tv Programming
MAINCOURSE WORK GUIDE MAC 343 RADIO/TV PROGRAMMING COURSE TEAM Course Developer Chidinma H. Onwubere. PhD, LL.B (NOUN) Course Writers Mr. Myke Esiri Department of Mass Communication Redeemerr’s University, Ogun State [email protected] +2348143092044 Chidinma H. Onwubere , PhD, LL.B School of Arts and Social Sciences National Open University of Nigeria, Victoria Island, Lagos [email protected] +2348023014372 EDITOR Dr. Sunday Olayinka Alawode Department of Mass Communication Lagos State University (LASU) Lagos State +234-8096095589 HEAD OF UNIT Chidinma H. Onwubere. PhD, LL.B School of Arts and Social Sciences National Open University of Nigeria, Victoria Island, Lagos NATIONAL OPEN UNIVERSITY OF NIGERIA 1 National Open University of Nigeria Headquarters 14/16 Ahmadu Bello Way Victoria Island Lagos Abuja Office National Open University of Nigeria 5, Dar Es Salaam Street, Off Aminu Kano Crescent Wuse II, Abuja Nigeria email: [email protected] URL: www.nou.edu.ng Published by National Open University of Nigeria Printed ISBN: All Rights Reserved 2 Table of Contents Contents Page MODULE 1 INTRODUCTION.................................................................. Unit 1: The nature of radio............................................................................................ Unit 2: The nature of television Unit 3: Station Format Unit 4: Programming the station MODULE 2 SCRIPTING Unit 1 Scripting Unit 2 The scriptwriter Unit 3 Radio TV Script format MODULE 3 WRITING AND PRODUCING TALKS ON RADIO/TV Unit 1 Talk Programmes Unit -
Ip Video: Putting Control in the Hands of the Consumers
IP VIDEO: PUTTING CONTROL IN THE HANDS OF THE CONSUMERS Ron Whitwortht I. INTRODUCTION Imagine a world where the entire television universe is at your fingertips. A world where television programming guides are extinct, recording devices are unnecessary, and location is irrelevant. Anything and everything is available at your command. In this world, you type the name of your favorite show and a bevy of episodes immediately appears on your screen, just as it would using a search-engine on the Internet. Within seconds you can begin playing any of those programs on your television or computer or download them to a portable device to carry with you wherever you go. You can start a movie on the sub- way, continue it during your lunch break, and finish it in your living room that night. Welcome to the world of Internet Protocol Video ("IP Video"). IP Video is ready for deployment and has the potential to revolutionize the communica- tions industry. The race to deliver IP Video to the home is underway, and the technology could serve as the ultimate battleground between cable companies and traditional telecommunications providers.' With technology developing at a rapid pace, home entertainment options for the average consumer have increased exponentially since the 1990s.2 Just thirty years ago consumers praised the advent of the video cassette recorder ("VCR") as an innovative technology that would permanently transform television view- ing patterns. However, with the arrival of new technologies such as the DVD,3 I J.D. and Institute for Communications Law Studies Certificate Candidate, May 2006, the Catholic University of America, Columbus School of Law. -
Television Violence Hearing Committee on Commerce
S. HRG. 106–862 TELEVISION VIOLENCE HEARING BEFORE THE COMMITTEE ON COMMERCE, SCIENCE, AND TRANSPORTATION UNITED STATES SENATE ONE HUNDRED SIXTH CONGRESS FIRST SESSION MAY 18, 1999 Printed for the use of the Committee on Commerce, Science, and Transportation ( U.S. GOVERNMENT PRINTING OFFICE 69–593 DTP WASHINGTON : 2001 For sale by the U.S. Government Printing Office Superintendent of Documents, Congressional Sales Office, Washington, DC 20402 VerDate 11-MAY-2000 08:40 Mar 27, 2001 Jkt 069593 PO 00000 Frm 00001 Fmt 5011 Sfmt 5011 69593.TXT SCOM1 PsN: SCOM1 SENATE COMMITTEE ON COMMERCE, SCIENCE, AND TRANSPORTATION ONE HUNDRED SIXTH CONGRESS FIRST SESSION JOHN MCCAIN, Arizona, Chairman TED STEVENS, Alaska ERNEST F. HOLLINGS, South Carolina CONRAD BURNS, Montana DANIEL K. INOUYE, Hawaii SLADE GORTON, Washington JOHN D. ROCKEFELLER IV, West Virginia TRENT LOTT, Mississippi JOHN F. KERRY, Massachusetts KAY BAILEY HUTCHISON, Texas JOHN B. BREAUX, Louisiana OLYMPIA J. SNOWE, Maine RICHARD H. BRYAN, Nevada JOHN ASHCROFT, Missouri BYRON L. DORGAN, North Dakota BILL FRIST, Tennessee RON WYDEN, Oregon SPENCER ABRAHAM, Michigan MAX CLELAND, Georgia SAM BROWNBACK, Kansas MARK BUSE, Staff Director MARTHA P. ALLBRIGHT, General Counsel IVAN A. SCHILAGER, Democratic Chief of Staff KEVIN D. KAYES, Democratic General Counsel (II) VerDate 11-MAY-2000 08:40 Mar 27, 2001 Jkt 069593 PO 00000 Frm 00002 Fmt 5904 Sfmt 5904 69593.TXT SCOM1 PsN: SCOM1 CONTENTS Page Hearing held May 18, 1999 .................................................................................... -
IITGHLIGHTS VIOLENCE PROFILE NO. 9 Trends in Network Television Drama and Viewer Conceptions of Social Reality 1967-197
------ --IITGHLIGHTS VIOLENCE PROFILE NO. 9 Trends in network television drama and viewer conceptions of social reality 1967-1977 by George Gerbner, Larry Gross, Marilyn Jackson-Beeck, Suzanne Jeffries-Fox, and Nancy Signorielli The Annenberg School of Communications University of Pennsylvania Philadelphia 19104 March 1978 This is the first section of the full Violence Profile No.9. Copies of the full technical report including all Tables are available for $15.50 each (checks to be made payable to the Trustees of the University of Pennsylvania). This research is a part of the Cultural Indicators study of trends in television content and effects conducted under grants from the American Medical Association, and the National Institute of Mental Health, George Gerbner and Larry Gross Co-principal Investigators, Nancy Signorielli Research Coordinator. \\J HIGHLIGHTS OF VIOLENCE PROFILE NO. 9 Annenberg School of Communications, University of Pennsylvania Television violence dropped sharply in 1977 from the record high reached a year ago. But the eVi4ence continues to indicate television's cumulative cultivation of viewer conceptions of danger, mistrust, and alienation. Moreover, new data suggest that heavy viewers of police and crime shows are more likely than light viewers to act on these conceptions: they report acquiring locks, dogs and guns to protect themselves. With each of its components showing a decline, the Violence Index is close to the record low of the 1973 season. However, violence still appeared in more than two-thirds of all prime-time programs and in dine out of ten weekend morning programs at the rate of five incidents and 16 incidents per hour respectively. -
Labeling Violence: How Useful Are Labels and How Far Can We Go?
If you have issues viewing or accessing this file contact us at NCJRS.gov. • LABELING VIOLENCE: HOW USEFUL ARE LABELS AND HOW FAR CAN WE GO? 151046 U.S. Department of Justice National Institute of Justice This document has been reproduced exactly as received from the person or organization originating It. Points of view or opinions stated In this document are those of the authors and do not necessarily represent the official position or policies of the Natlonallnslltute of Justice. Permission to reproduce this copyrighted material has been granted by -ByJvia E White, Ph.D. to the National Criminal Justice Reference Service (NCJRS). Further reproduction outside of the NCJRS system requires permission of the copyright ownEir. Dr. Sylvia E. White Assistant Professor of Electronic Media • The University of Akron leigh Hall Rm 111 School of Communication Akron Ohio 44325-1003 (216) 972-7954 fax (2i 6) 972-8045 Presented at the International Conference on Violence in the Media • St. John's University, Oct. 3 and 4, 1994, New York, N.Y. ---------------------------------- Labeling Violence: How Useful are Labels and How Far Can We Go? • At the end of May 1993, ABC, CBS, NBC and Fox announced the adoption of an "advance parental advisory plan" to warn television viewers of the presence of violent content in television programs. The networks would decide which programs merited the warning. No current series would contain warnings, though individual episodes might. No cartoons would contain warnings (McAvoy 1993b). Responding to the announcement, President Bill Clinton wrote, "Millions of parents are rightly concerned that their children are exposed to far too many graphic pictures of murder and mayhem.