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Are You What You Watch?
Are You What You Watch? Tracking the Political Divide Through TV Preferences By Johanna Blakley, PhD; Erica Watson-Currie, PhD; Hee-Sung Shin, PhD; Laurie Trotta Valenti, PhD; Camille Saucier, MA; and Heidi Boisvert, PhD About The Norman Lear Center is a nonpartisan research and public policy center that studies the social, political, economic and cultural impact of entertainment on the world. The Lear Center translates its findings into action through testimony, journalism, strategic research and innovative public outreach campaigns. Through scholarship and research; through its conferences, public events and publications; and in its attempts to illuminate and repair the world, the Lear Center works to be at the forefront of discussion and practice in the field. futurePerfect Lab is a creative services agency and think tank exclusively for non-profits, cultural and educational institutions. We harness the power of pop culture for social good. We work in creative partnership with non-profits to engineer their social messages for mass appeal. Using integrated media strategies informed by neuroscience, we design playful experiences and participatory tools that provoke audiences and amplify our clients’ vision for a better future. At the Lear Center’s Media Impact Project, we study the impact of news and entertainment on viewers. Our goal is to prove that media matters, and to improve the quality of media to serve the public good. We partner with media makers and funders to create and conduct program evaluation, develop and test research hypotheses, and publish and promote thought leadership on the role of media in social change. Are You What You Watch? is made possible in part by support from the Pop Culture Collaborative, a philanthropic resource that uses grantmaking, convening, narrative strategy, and research to transform the narrative landscape around people of color, immigrants, refugees, Muslims and Native people – especially those who are women, queer, transgender and/or disabled. -
An Analysis of Hegemonic Social Structures in "Friends"
"I'LL BE THERE FOR YOU" IF YOU ARE JUST LIKE ME: AN ANALYSIS OF HEGEMONIC SOCIAL STRUCTURES IN "FRIENDS" Lisa Marie Marshall A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2007 Committee: Katherine A. Bradshaw, Advisor Audrey E. Ellenwood Graduate Faculty Representative James C. Foust Lynda Dee Dixon © 2007 Lisa Marshall All Rights Reserved iii ABSTRACT Katherine A. Bradshaw, Advisor The purpose of this dissertation is to analyze the dominant ideologies and hegemonic social constructs the television series Friends communicates in regard to friendship practices, gender roles, racial representations, and social class in order to suggest relationships between the series and social patterns in the broader culture. This dissertation describes the importance of studying television content and its relationship to media culture and social influence. The analysis included a quantitative content analysis of friendship maintenance, and a qualitative textual analysis of alternative families, gender, race, and class representations. The analysis found the characters displayed actions of selectivity, only accepting a small group of friends in their social circle based on friendship, gender, race, and social class distinctions as the six characters formed a culture that no one else was allowed to enter. iv ACKNOWLEDGMENTS This project stems from countless years of watching and appreciating television. When I was in college, a good friend told me about a series that featured six young people who discussed their lives over countless cups of coffee. Even though the series was in its seventh year at the time, I did not start to watch the show until that season. -
Loaded with Netflix & Vudu TV & Movies
Library of Things: Roku Express Loaded with Netflix & Vudu TV & Movies WHAT'S INCLUDED When you open your Roku from the Library, you will find the following Roku components: PowerAdapter Roku Remote USB Power Cable Roku Express Streaming HDMI Cable Media Player SETUP: 1 First, to connect the Roku to your TV, plug the HDMI cable into the HDMI input on the back (or side) of your TV. The other end of the HDMI cable plugs into the back of the Roku Express streaming player. SETUP: 2 Next, connect the Roku to power. For the best experience, use the included USB power cable and adaptor to connect the Roku to a wall outlet. Or You can use the included USB power cable to connect to the USB port on your TV (if you have one). SETUP: 3 Position the Roku streaming player near your TV. Make sure that the front of your streaming player has direct line of sight with your remote control. Finally, power on your TV using the appropriate remote and select the HDMI input. Now the Roku is ready to be connected to your WiFi. CONNECT TO WIRELESS: 1 After you plugin your Roku, you will see a message “No Internet Connection”. Press the * button on the Roku remote to setup the Internet connection. Using the arrow keys on the Roku remote, choose “Network settings” and press the "Ok" button. CONNECT TO WIRELESS: 2 Press the “Ok” button on the remote to select “Wireless”. Using the arrow keys on the Roku remote, choose your wireless network from the list and press the “Ok” button. -
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. -
The Materiality of Books and TV House of Leaves and the Sopranos in a World of Formless Content and Media Competition
The Materiality of Books and TV House of Leaves and The Sopranos in a World of Formless Content and Media Competition Alexander Starre* In Western societies, the proliferation of ever new forms of digital media has initiated a fierce competition between various narrative media for the time and attention of readers and viewers. Within the context of the increasingly complex media ecology of the contemporary United States, this paper describes the aes- thetic phenomenon of ‘materiality-based metareference’. Building on theories of mediality and metareference, this specific mode is first described with regard to its general forms and effects. Subsequently, two symptomatic media texts are analyzed in an intermedial comparison between literature and television. The novel House of Leaves (2000) by Mark Z. Danielewski constantly investigates the relationship between its narrative and the printed book, while the serial television drama The Sopranos (1999–2007) ties itself in numerous ways to its apparatus. As these examples show, the increased competition between media fosters narratives which foreground their ultimate adhesion to a fixed material form. Intermedial studies of metareference need to address the mediality of representations, nar- rative and otherwise, in order to fully explain the causes and functions of the increased occurrence of metareference in the digital age. 1. Introduction: from book to content (and back?) On September 17, 2009, Google announced its collaboration with On Demand Books (ODB), a company whose product portfolio consists solely of one item: the Espresso Book Machine (EBM). According to the official press release, this machine “can print, bind and trim a single-copy library-quality paperback book complete with a full-color paperback cover” within minutes (“Google” 2009: online). -
The Chosen Episode 1 – “I Have Called You by Name”
The Chosen Episode 1 – “I Have Called You By Name” SCRIPTURE Isaiah 43: 1-4 But now, thus says the LORD, who created you, Jacob, and formed you, Israel: Do not fear, for I have redeemed you; I have called you by name: you are mine. When you pass through waters, I will be with you; through rivers, you shall not be swept away. When you walk through fire, you shall not be burned, nor will flames consume you. For I, the LORD, am your God, the Holy One of Israel, your savior. I give Egypt as ransom for you, Ethiopia and Seba in exchange for you. Because you are precious in my eyes and honored, and I love you, I give people in return for you and nations in exchange for your life. Luke 8:1-3 Afterward he journeyed from one town and village to another, preaching and proclaiming the good news of the kingdom of God. Accompanying him were the Twelve and some women who had been cured of evil spirits and infirmities, Mary, called Magdalene, from whom seven demons had gone out, Joanna, the wife of Herod’s steward Chuza, Susanna, and many others who provided for them out of their resources. John 20:1-18 On the first day of the week, Mary of Magdala came to the tomb early in the morning, while it was still dark, and saw the stone removed from the tomb. So she ran and went to Simon Peter and to the other disciple whom Jesus loved, and told them, “They have taken the Lord from the tomb, and we don’t know where they put him.” So Peter and the other disciple went out and came to the tomb. -
Diversifying Book Production for the Long Tail Age John Mcwilliams Pace University
Pace University DigitalCommons@Pace Master of Science in Publishing Dyson College of Arts & Sciences 5-1-2009 Diversifying Book Production for the Long Tail Age John McWilliams Pace University Follow this and additional works at: http://digitalcommons.pace.edu/dyson_mspublishing Part of the Communication Technology and New Media Commons, Journalism Studies Commons, Mass Communication Commons, and the Public Relations and Advertising Commons Recommended Citation McWilliams, John, "Diversifying Book Production for the Long Tail Age" (2009). Master of Science in Publishing. Paper 6. http://digitalcommons.pace.edu/dyson_mspublishing/6 This Thesis is brought to you for free and open access by the Dyson College of Arts & Sciences at DigitalCommons@Pace. It has been accepted for inclusion in Master of Science in Publishing by an authorized administrator of DigitalCommons@Pace. For more information, please contact [email protected]. Diversifying Book Production and Delivery for the Long Tail Age John McWilliams Submitted in partial fulfillment of the requirements for the Master of Science in Publishing degree at Pace University Submitted May 6, 2009 For Jane Denning The modes of delivery for the book publishing industry are splintering. While brick-and-mortar bookstore sales still comprise the greatest share of sales nationwide, new lines of distribution are coming online quickly: Internet book sales in the past ten years have skyrocketed. Electronic book sales are also growing quickly: Amazon now has 130,000 titles available electronically, and 12 percent of those represent e-book sales. Jason Epstein’s Espresso Book Machine is already making appearances in venues around the country. This diversification of distribution, coupled with the Internet’s capability of identifying products of special interest for readers, constitutes what Chris Anderson calls The Long Tail: a new market model in which erstwhile physical barriers for customers to obtain niche products have been removed. -
CQR Future of Books
Researcher Published by CQ Press, A Division of SAGE CQ www.cqresearcher.com Future of Books Will traditional print books disappear? he migration of books to electronic screens has been accelerating with the introduction of mobile reading on Kindles, iPhones and Sony Readers and the growing power of Google’s Book Search Tengine. Even the book’s form is mutating as innovators experiment with adding video, sound and computer graphics to text. Some fear a loss of literary writing and reading, others of the world’s storehouse of knowledge if it all goes digital. A recent settlement among Google, authors and publishers would make more out-of- Amazon’s Kindle 2 digital book reader can store print books accessible online, but some worry about putting such hundreds of books and read text aloud. Like the electronic Sony Reader, the Kindle features glare-free a vast trove of literature into the hands of a private company. text easier on the eyes than a computer screen. So far, barely 1 percent of books sold in the United States are electronic. Still, the economically strapped publishing industry is I under pressure to do more marketing and publishing online as N THIS REPORT S younger, screen-oriented readers replace today’s core buyers — THE ISSUES ......................475 I middle-aged women. BACKGROUND ..................484 D CHRONOLOGY ..................485 E CURRENT SITUATION ..........488 CQ Researcher • May 29, 2009 • www.cqresearcher.com AT ISSUE ..........................493 Volume 19, Number 20 • Pages 473-500 OUTLOOK ........................495 RECIPIENT OF SOCIETY OF PROFESSIONAL JOURNALISTS AWARD FOR EXCELLENCE ◆ AMERICAN BAR ASSOCIATION SILVER GAVEL AWARD BIBLIOGRAPHY ..................498 THE NEXT STEP ................499 FUTURE OF BOOKS CQ Researcher May 29, 2009 THE ISSUES OUTLOOK Volume 19, Number 20 MANAGING EDITOR: Thomas J. -
Alessandro Ludovico
POSt- DIGITAL PRINT The Mutation of Publishing since 1894 Alessandro Ludovico ONOMATOPEE 77 In this post-digital age, digital technology is no longer a revolutionary phenomenon but a normal part of every- day life. The mutation of music and film into bits and bytes, downloads and streams is now taken for granted. For the world of book and magazine publishing however, this transformation has only just begun. Still, the vision of this transformation is far from new. For more than a century now, avant-garde artists, activists and technologists have been anticipating the development of networked and electronic publishing. Although in hindsight the reports of the death of paper were greatly exaggerated, electronic publishing has now certainly become a reality. How will the analog and the digital coexist in the post-digital age of publishing? How will they transition, mix and cross over? In this book, Alessandro Ludovico re-reads the history of media technology, cultural activism and the avant- garde arts as a prehistory of cutting through the so-called dichotomy between paper and electronics. Ludovico is the editor and publisher of Neural, a magazine for critical digital culture and media arts. For more than twenty years now, he has been working at the cutting edge (and the outer fringes) of both print publishing and politically engaged digital art. ISBN 9789078454878 90000 > 9 789078 454878 POSt- DIGITAL PRINT The Mutation of Publishing since 1894 Alessandro Ludovico ONOMATOPEE 77 1 2 contents Introduction. 7 Chapter 1 – The death of paper (which never happened). 15 1.1 Early threats to the printed medium. -
A Blueprint for Book Publishing Transformation: Seven Essential Processes to Re-Invent Publishing by David R
GILBANE GROUP G A DIVISION OF OUTSELL, INC. October 1st 2010 A Blueprint for Book Publishing Transformation: Seven Essential Processes to Re-Invent Publishing by David R. Guenette, Bill Trippe, and Karen Golden Outsell’s Gilbane Group: Research Report Table of Contents Page # Acknowledgements . 6 A Blueprint User’s Guide..................................................................... 7 Executive Summary . 9 Digital Comes to Book Publishing............................................................ 10 The State of Book Publishing Today . 11 E-book Market Sizing..................................................................... 14 Trade Book Publishing: How the Kindle Drove E-book Publishing . 18 Educational Publishing: Solutions Have to Address Both Market and Cost Problems ...............24 Agility, Flexibility, and XML Help STM Publishers Meet Demands . .26 Many Challenges, Many Opportunities......................................................28 Book Publishing’s Seven Essential Publishing Processes . 31 Mapping Processes to Specific Systems . 31 Planning Processes and Systems ........................................................... 32 Editorial and Production Processes and Systems . .48 Rights and Royalties Processes and Systems ................................................. 57 Manufacturing Processes and Systems......................................................59 Marketing and Promotion Processes and Systems ............................................69 Sales and Licensing Processes and Systems................................................. -
Hardcover Journal
Hardcover Journal What you’ll need… •Chipboard •Mod Podge •Fabric (10"x13" min.) •Wide paintbrush •Scissors •Tapestry needle •Cord •Awl/Sharp tool •Cardstock (8½"x11") •30 sheets paper (8½"x11") Choose the fabric that you would like to be the cover of your journal. Make sure the fabric is thick 1 enough that the Mod Podge will not easily seep right through. Anything at least as thick as a standard white t-shirt should work. Cut the fabric to about 10" tall by 13" wide. Lay it flat. Next, cut two pieces 2 of chipboard, each 5½" by 8½". These will form the covers. If you have chip- board remaining, you can also cut a piece to support the spine. That piece should measure 8½" by approximately ½", depending on how thick you want the journal to be. 3 Lay the chipboard pieces out on the back of the fabric so there is about ¼" of space between the spine piece and the two cover pieces. There should be at least ½" of extra fabric on each side of the assembly. Brush a good amount of Mod Podge on one side of each piece of chipboard and glue into place. Don’t use so much that it easily runs through the fabric. 4 Brush the “interior” edges of the chipboard with Mod Podge as wide as nec- essary to glue the edges of the fabric down. Extra Mod Podge will dry, so over- esmang is okay. Tightly fold the edges of the cloth over starng with the top and boom. Fold the corners to make a wedge shape and then fold the last two flaps over ghtly to finish the cover. -
On Demand Books the Espresso Book Machine Model
On Demand Books The Espresso Book Machine™ Model 1.5 EBM 1.5 DETAILS Dimensions • Length: 104 inches • Depth (with printers): 60 inches • Depth (without): 30 inches • Height: 61 inches Weight • Main Unit: 1,200 lbs. • B&W Printer with cart: 280 lbs. • Cover Printer with cart: 180 lbs. • Total: 1,660 lbs. Electrical Specifications • Circuit: 240v 1ph • Load: 30 amps (approx.) • Connection: Box with disconnect • Certification: UL Consumables • Toner • 8.5x11 Book Block Stock • 11x17 Cover Stock • Charcoal Filter OVERVIEW The Espresso Book Machine™ (the “EBM”) from On Demand Books provides • Glue Pellets a revolutionary direct-to-consumer distribution and print model for books. EBM LOCATIONS: The EBM produces a library-quality perfect-bound book from a digital file on demand and at point of sale within minutes, serving a radically decentralized worldwide multilingual marketplace. The Library of Alexandria, Alexandria, Egypt The EBM is a fully integrated patented book-making machine that can automatically print, bind The New Orleans Public and trim on demand paperback books with 4-color covers (indistinguishable from their factory- Library, New Orleans, made versions) for the production cost of a penny a page. The trim size of a book is infinitely Louisiana variable between 8.5" x 11" and 4.5" x 4.5". An onboard computer controls the EBM’s operation and provides a simple user interface for controlling print jobs and managing content. The University of Michigan Library, Ann Arbor, Michigan The EBM is modular in design and can accommodate up to six duplex printers for increased The University of Alberta speed and efficiency – e.g., the 2-printer model can produce a 300-page book in about 3 minutes campus bookstore, or a 500-page book in about 5 minutes.