Disney Channel Tv Shows Schedule
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Lessons from Disney Disney is a household name, known around the world for its theme parks, movies and loveable characters. Since it was founded in 1923, the company has been focused on creating magical experiences for people, whether they’re visiting a theme park, watching a Disney film, or staying in a Disney hotel. For almost 100 years, Disney has overcome failure and experienced tremendous growth. It has had to grow and evolve to deal with market challenges, advances in technology and changing customer demands. What has remained constant through this time, however, is Disney’s commitment to pioneering innovation, leveraging opportunities, and evolving their strategy to meet changing market conditions. Establishing the Disney brand Disney enjoyed tremendous success during its first 30 years. In 1928, Disney created the first film with synchronised sound, and in 1937 it created the first full length feature animated film. Both projects were world firsts, establishing Disney as an innovation leader (before innovation was a thing!). After a decline in success during the Second World War, Walt Disney recognised the need for new ways to share content and grow revenue and breathe new life back into the company. In 1950, the company made the leap to television with the release of One Hour in Wonderland, a promotion for the upcoming film, Alice in Wonderland. Disney and television In July 1954, Walt Disney started building Disneyland, and a year and a day after construction started, the park was opened. To try and recoup some of the US$17 million build cost, Disney sought to leverage his earlier television success and bring his beloved theme park to people’s homes. -
Walt Disney Launches Disney Channel & Toon Disney Channels for The
Disney Channel and Toon Disney Launch in India on 17 December 2004 Mumbai, India, 15 December 2004: For the first time ever kids and families in India will now be able to watch a unique blend of Disney branded and locally produced entertainment that offers something for all members of the family. The launches mark the first dual channel debut by an international broadcaster in the history of Indian television. Disney Channel and Toon Disney will be fully languaged services at launch with almost 3000 hours of multi-genre content already dubbed into multiple languages. Toon Disney will be India’s first and only 24-hour Tamil and Telugu language kids’ channel. Disney Channel will be a 24-hour Hindi service. Both channels will also provide an optional English language feed in appropriate markets. Disney Channel’s programming schedule will include almost 400 episodes of local production, representing the single largest localisation commitment by any international broadcaster. The Channel also sets new standards in providing entertainment that the whole family can enjoy by scheduling approximately 60 movies each month including some of the most celebrated Disney animated and live action features. “The unique strength and appeal of Disney Channel and Toon Disney, combined with the distribution commitment of Star India, give us a great opportunity to capture the hearts of millions of viewers across the country,” said Rajat Jain, Managing Director, WDTVI-I. “As the world leader in kids and family entertainment, we have a huge responsibility to India’s vast and diverse TV viewing population. We have identified several crucial gaps in entertainment currently catering to kids and their families. -
Media Ownership Chart
In 1983, 50 corporations controlled the vast majority of all news media in the U.S. At the time, Ben Bagdikian was called "alarmist" for pointing this out in his book, The Media Monopoly . In his 4th edition, published in 1992, he wrote "in the U.S., fewer than two dozen of these extraordinary creatures own and operate 90% of the mass media" -- controlling almost all of America's newspapers, magazines, TV and radio stations, books, records, movies, videos, wire services and photo agencies. He predicted then that eventually this number would fall to about half a dozen companies. This was greeted with skepticism at the time. When the 6th edition of The Media Monopoly was published in 2000, the number had fallen to six. Since then, there have been more mergers and the scope has expanded to include new media like the Internet market. More than 1 in 4 Internet users in the U.S. now log in with AOL Time-Warner, the world's largest media corporation. In 2004, Bagdikian's revised and expanded book, The New Media Monopoly , shows that only 5 huge corporations -- Time Warner, Disney, Murdoch's News Corporation, Bertelsmann of Germany, and Viacom (formerly CBS) -- now control most of the media industry in the U.S. General Electric's NBC is a close sixth. Who Controls the Media? Parent General Electric Time Warner The Walt Viacom News Company Disney Co. Corporation $100.5 billion $26.8 billion $18.9 billion 1998 revenues 1998 revenues $23 billion 1998 revenues $13 billion 1998 revenues 1998 revenues Background GE/NBC's ranks No. -
PROGRAM November 18-20, 2015 THANKS to the 2015 Children, Youth & Media Conference Sponsors
Toronto PROGRAM November 18-20, 2015 THANKS tO tHe 2015 ChIlDrEn, YoUtH & MeDiA CoNfErEnCe sponsors MAIN SPONSOR PRESTIGE SPONSORS EXCELLENCE SPONSORS 2 SPECIAL THANKS Youth Media Alliance would like to warmly thank its 2015 Children, Youth & Media Conference advisory committee: NATALIE DUMOULIN / 9 Story Media Group MARTHA SEPULVEDA / RACHEL MARCUS / Guru Studio Breakthrough Entertainment MICHELLE MELANSON CUPERUS / CLAUDIA SICONDOLFO Radical Sheep Productions JULIE STALL / Portfolio Entertainment LYNN OLDERSHAW / Kids’ CBC TRAVIS WILLIAMS / Mercury Filmworks MIK PERLUS / marblemedia SUZANNE WILSON / TVO Kids JAMIE PIEKARZ / Corus Entertainment And the volunteers: KELLY LYNNE ASHTON, KAYLA LATHAM, HENRIKA LUONG, TATIANA MARQUES, JAYNA RAN and MARCELA LUCIA ROJAS. TABLE OF CONTENTS Words from Chair .............................................................................p. 4 Words from Executive Director ............................................................p. 5 Schedule and Venue ..........................................................................p. 6 General Conference ..........................................................................p. 8 Workshop with Sheena Macrae ............................................................p. 12 Workshop with Linda Schuyler .............................................................p. 12 Prix Jeunesse Screening ....................................................................p. 13 Speakers’ Biographies .......................................................................p. -
Understanding the Phenomenon of Binge-Watching—A Systematic Review
International Journal of Environmental Research and Public Health Review Understanding the Phenomenon of Binge-Watching—A Systematic Review Jolanta A. Starosta * and Bernadetta Izydorczyk * Institute of Applied Psychology, Faculty of Management and Social Communication, Jagiellonian University, 30-348 Krakow, Poland * Correspondence: [email protected] (J.A.S.); [email protected] (B.I.) Received: 8 May 2020; Accepted: 18 June 2020; Published: 22 June 2020 Abstract: Binge-watching is a relatively new behaviour pattern whose popularity has been increasing since 2013, ultimately to become one of the most popular ways of spending free time, especially among young people. However, there is still a dearth of research on this phenomenon. The aim of this study is to present the current understanding and psychological conditions of binge-watching, as provided in the research papers published between 2013 and 2020. This systematic review, including 28 articles, addresses different approaches to defining this behaviour, diverse motivations, personality traits, and risks of excessive binge-watching. Its results imply that there are two perspectives in understanding binge-watching. The first is related to entertainment, positive emotions, cognition, and spending free time. However, the second perspective emphasises the negative outcomes of excessive binge-watching and symptoms of behavioural addiction. There is undoubtedly a need for further research to be conducted on diversified populations to reach more profound understanding of binge-watching behaviour patterns. Keywords: binge-watching; behavioural addiction; new technologies; motivation; personality traits 1. Introduction Binge-watching is a relatively new behavioural phenomenon, which is defined as watching between two and six episodes of a TV show in one sitting [1]. -
The Children's Television Act and Program-Length Commercials
The Children’s Television Act and Program-Length Commercials: Current Interpretations and Implications for the Future by KARI METROKA-KIRKHAM Bachelor of Science, 1985 Texas Christian University Submitted to the Faculty Graduate Division College of Communications In partial fulfillment of the Requirements for the degree of MASTER OF SCIENCE May, 2008 Acknowledgements There are so many people I have to thank that helped me through graduate school and this thesis – I know the orchestra will start to play while I am thanking them all. Although I will try to make this brief, the depth of my gratitude to you all has no limit. To all my friends, family and co-graduate students for your constant encouragement and understanding, I say thank you. You have been so patient, especially listening to me endlessly go on about my topic. My thanks also go out to Dr. Matt McCallister from Penn State who helped me clarify my thinking about this entire subject. Also, I want to thank Dr. Dale Kunkel and Newton Minow who took the time to respond to my emails as I was trying to research this project. I cannot tell you what it means to me to hear from all of you about this subject. My appreciation goes to all of the faculty and staff at TCU who have helped me through this process. I could not have done any of this without your help. A special thanks to Dr. Tommy Thomason and Dr. Julie O’Neil. Tommy – I would not be in graduate school at all if it had not been for you. -
Television Satire and Discursive Integration in the Post-Stewart/Colbert Era
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 5-2017 On with the Motley: Television Satire and Discursive Integration in the Post-Stewart/Colbert Era Amanda Kay Martin University of Tennessee, Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Journalism Studies Commons Recommended Citation Martin, Amanda Kay, "On with the Motley: Television Satire and Discursive Integration in the Post-Stewart/ Colbert Era. " Master's Thesis, University of Tennessee, 2017. https://trace.tennessee.edu/utk_gradthes/4759 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Amanda Kay Martin entitled "On with the Motley: Television Satire and Discursive Integration in the Post-Stewart/Colbert Era." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Science, with a major in Communication and Information. Barbara Kaye, Major Professor We have read this thesis and recommend its acceptance: Mark Harmon, Amber Roessner Accepted for the Council: Dixie L. Thompson Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) On with the Motley: Television Satire and Discursive Integration in the Post-Stewart/Colbert Era A Thesis Presented for the Master of Science Degree The University of Tennessee, Knoxville Amanda Kay Martin May 2017 Copyright © 2017 by Amanda Kay Martin All rights reserved. -
The Netflix Effect: Teens, Binge Watching, and On-Demand Digital Media Trends
The Netflix Effect: Teens, Binge Watching, and On-Demand Digital Media Trends Sidneyeve Matrix Jeunesse: Young People, Texts, Cultures, Volume 6, Issue 1, Summer 2014, pp. 119-138 (Article) Published by The Centre for Research in Young People's Texts and Cultures, University of Winnipeg DOI: https://doi.org/10.1353/jeu.2014.0002 For additional information about this article https://muse.jhu.edu/article/553418 Access provided at 9 Jul 2019 13:25 GMT from University of Pittsburgh The Netflix Effect: Teens, Binge Watching, and On-Demand Digital Media Trends —Sidneyeve Matrix Introduction first time Netflix had released an entire season of an original program simultaneously and caused a Entertainment is fast becoming an all-you-can-eat nationwide video-on-demand stampede. When House buffet. Call it the Netflix effect. of Cards and Orange Is the New Black premiered in –Raju Mudhar, Toronto Star 2013, huge percentages of Netflix subscribers watched back-to-back episodes, devouring a season of content Whatever our televisual drug of choice—Battlestar in just days. Although these three shows belong to Galactica, The Wire, Homeland—we’ve all put different genres—one a sitcom and the others adult- off errands and bedtime to watch just one more, a themed melodramas—what they share is an enormous thrilling, draining, dream -influencing immersion popularity among the millennial cohort that makes up experience that has become the standard way to the majority of the subscriber base of Netflix. When consume certain TV programs. all episodes of a season -
From Disney to Disaster: the Disney Corporation’S Involvement in the Creation of Celebrity Trainwrecks
From Disney to Disaster: The Disney Corporation’s Involvement in the Creation of Celebrity Trainwrecks BY Kelsey N. Reese Spring 2021 WMNST 492W: Senior Capstone Seminar Dr. Jill Wood Reese 2 INTRODUCTION The popularized phrase “celebrity trainwreck” has taken off in the last ten years, and the phrase actively evokes specified images (Doyle, 2017). These images usually depict young women hounded by paparazzi cameras that are most likely drunk or high and half naked after a wild night of partying (Doyle, 2017). These girls then become the emblem of celebrity, bad girl femininity (Doyle, 2017; Kiefer, 2016). The trainwreck is always a woman and is usually subject to extra attention in the limelight (Doyle, 2017). Trainwrecks are in demand; almost everything they do becomes front page news, especially if their actions are seen as scandalous, defamatory, or insane. The exponential growth of the internet in the early 2000s created new avenues of interest in celebrity life, including that of social media, gossip blogs, online tabloids, and collections of paparazzi snapshots (Hamad & Taylor, 2015; Mercer, 2013). What resulted was 24/7 media access into the trainwreck’s life and their long line of outrageous, commiserable actions (Doyle, 2017). Kristy Fairclough coined the term trainwreck in 2008 as a way to describe young, wild female celebrities who exemplify the ‘good girl gone bad’ image (Fairclough, 2008; Goodin-Smith, 2014). While the coining of the term is rather recent, the trainwreck image itself is not; in their book titled Trainwreck, Jude Ellison Doyle postulates that the trainwreck classification dates back to feminism’s first wave with Mary Wollstonecraft (Anand, 2018; Doyle, 2017). -
* Feature Resume-Letrhd
Glenn Berkovitz, CAS <[email protected]> 310- 902-1148 Production Sound Mixer Films for theatrical release: MENTRYVILLE, Spores LLC / Studioline-Lionsgate - Dir.: Jason Dudek WHEN A STRANGER CALLS, Screen Gems / Sony Pictures - Dir.: Simon West SEXUAL LIFE, Showtime Pictures / Viacom - Dir.: Ken Kwapis ZERO EFFECT, Castle Rock Pictures / Columbia Pictures - Dir.: Jake Kasdan DAREDEVIL (extensive 2nd unit/additional photog.), 20th Century Fox - Dir.: Mark Steven Johnson LOST & FOUND (shared credit), Alcon Entertainment - Dir.: Jeff Pollack RUSH HOUR ; RUSH HOUR 2 (extensive additional photography), New Line Cinema - Dir.: Brett Ratner FREEJACK, Morgan Creek Films / Warner Bros. - Dir.: Geoff Murphy HARD PROMISES, Stone Group Films/Columbia Pictures - Dir.: Martin Davidson, Lee Grant SNIPER (U.S. unit), Tri-Star Films / Baltimore Pictures - Dir.: Luis Llhosa BUFFY THE VAMPIRE KILLER (extensive add’l photog.), 20th Century Fox Prod.-Dir.: Fran Kozui LOVE POTION #9 (shared credit), 20th Century Fox Productions - Dir.: Dale Launer YOUNG GUNS II, Morgan Creek Films/20th Century Fox Productions - Dir.: Geoff Murphy MANNEQUIN ON THE MOVE, Gladden Entertainment - Dir.: Stewart Raffill ROBOCOP 2, Orion Film Productions - Dir.: Irvin Kirshner REPOSSESSED, First Class Films/Carolco Productions - Dir.: Robert Logan MISS FIRECRACKER, Corsair Films/United Artists Films - Dir.: Thomas Schlamme THE HEART OF DIXIE, Steve Tisch Films/Orion Film Productions - Dir.: Martin Davidson LESS THAN ZERO, Avnet-Kerner Productions/20th Century Fox Prod. - Dir.: Marek -
TV and On-Demand Audiovisual Services in Albania Table of Contents
TV and on-demand audiovisual services in Albania Table of Contents Description of the audiovisual market.......................................................................................... 2 Licensing authorities / Registers...................................................................................................2 Population and household equipment.......................................................................................... 2 TV channels available in the country........................................................................................... 3 TV channels established in the country..................................................................................... 10 On-demand audiovisual services available in the country......................................................... 14 On-demand audiovisual services established in the country..................................................... 15 Operators (all types of companies)............................................................................................ 15 Description of the audiovisual market The Albanian public service broadcaster, RTSH, operates a range of channels: TVSH (Shqiptar TV1) TVSH 2 (Shqiptar TV2) and TVSH Sat; and in addition a HD channel RTSH HD, and three thematic channels on music, sport and art. There are two major private operators, TV Klan and Top Channel (Top Media Group). The activity of private electronic media began without a legal framework in 1995, with the launch of the unlicensed channel Shijak TV. After -
Cable Network Unit Values Sources: National Cable & Telecommunications Association, SNL Kagan, the Nielsen Company & Various Sources 2013
Cable Network Unit Values Sources: National Cable & Telecommunications Association, SNL Kagan, The Nielsen Company & Various Sources 2013 Ct. Cable Network 2013 Subscribers 2013 Units 1 3net 1,100,000 3 2 A&E Network 99,000,000 283 3 ABC Family 97,232,000 278 --- Adult Swim (see Cartoon Network) --- --- 4 Africa Channel, The 11,100,000 31 5 AMC 97,000,000 277 --- AmericanLife (see YouToo TV ) --- --- 6 Animal Planet 97,051,000 277 7 Anime Network 84,000,000 240 8 Antena 3 400,000 1 9 Arabic Channel, The 1,014,000 3 10 ART (Arab Radio & Television) 500,000 1 11 ASPIRE 9,900,000 28 12 AXS TV (fka HDNet) 36,900,000 105 13 Bandamax 2,200,000 6 14 Bay News 9 1,000,000 2 15 BBC America 80,687,000 231 16 BBC World News 12,000,000 34 17 BET 98,000,000 280 18 BET Gospel 11,100,000 32 19 BET Hip Hop 700,000 2 --- BET Jazz (see CENTRIC) --- --- 20 Big Ten Network 75,000,000 214 21 Biography Channel 69,316,000 198 22 Blackbelt TV 9,600,000 27 23 Bloomberg Television 73,300,000 209 24 BlueHighways TV 10,100,000 29 25 Boomerang 55,300,000 158 26 Bravo 94,969,000 271 27 Bravo! Canada 5,800,000 16 28 Bridges TV 3,700,000 11 29 California Channel 5,800,000 16 30 Canal 24 Horas 8,000,000 22 31 Canal Sur 2,800,000 8 --- Capital News 9 (see YNN Capital Region ) --- --- 32 Caracol TV 2,000,000 6 33 Cartoon Network / Adult Swim 99,000,000 283 34 Casa Club TV 500,000 1 35 CBS Sports Network (fka CBS College Sports Network) 47,900,000 137 page 1 of 8 2013 Cable Unit Values Exhibit (4-9-13) Ct.