CONTENT MATTERS-Upfront Update
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Putting National Party Convention
CONVENTIONAL WISDOM: PUTTINGNATIONAL PARTY CONVENTION RATINGS IN CONTEXT Jill A. Edy and Miglena Daradanova J&MC This paper places broadcast major party convention ratings in the broad- er context of the changing media environmentfrom 1976 until 2008 in order to explore the decline in audience for the convention. Broadcast convention ratings are contrasted with convention ratingsfor cable news networks, ratings for broadcast entertainment programming, and ratings Q for "event" programming. Relative to audiences for other kinds of pro- gramming, convention audiences remain large, suggesting that profit- making criteria may have distorted representations of the convention audience and views of whether airing the convention remains worth- while. Over 80 percent of households watched the conventions in 1952 and 1960.... During the last two conventions, ratings fell to below 33 percent. The ratings reflect declining involvement in traditional politics.' Oh, come on. At neither convention is any news to be found. The primaries were effectively over several months ago. The public has tuned out the election campaign for a long time now.... Ratings for convention coverage are abysmal. Yet Shales thinks the networks should cover them in the name of good cit- izenship?2 It has become one of the rituals of presidential election years to lament the declining television audience for the major party conven- tions. Scholars like Thomas Patterson have documented year-on-year declines in convention ratings and linked them to declining participation and rising cynicism among citizens, asking what this means for the future of mass dem~cracy.~Journalists, looking at conventions in much the same way, complain that conventions are little more than four-night political infomercials, devoid of news content and therefore boring to audiences and reporters alike.4 Some have suggested that they are no longer worth airing. -
Small Episodes, Big Detectives
Small Episodes, Big Detectives A genealogy of Detective Fiction and its Relation to Serialization MA Thesis Written by Bernardo Palau Cabrera Student Number: 11394145 Supervised by Toni Pape Ph.D. Second reader Mark Stewart Ph.D. MA in Media Studies - Television and Cross-Media Culture Graduate School of Humanities June 29th, 2018 Acknowledgments As I have learned from writing this research, every good detective has a sidekick that helps him throughout the investigation and plays an important role in the case solving process, sometimes without even knowing how important his or her contributions are for the final result. In my case, I had two sidekicks without whom this project would have never seen the light of day. Therefore, I would like to thank my thesis supervisor Toni Pape, whose feedback and kind advice was of great help. Thank you for helping me focus on the important and being challenging and supportive at the same time. I would also like to thank my wife, Daniela Salas, who has contributed with her useful insight, continuous encouragement and infinite patience, not only in the last months but in the whole master’s program. “Small Episodes, Big Detectives” 2 Contents Introduction ...................................................................................................................... 4 1. Literature Seriality in the Victorian era .................................................................... 8 1.1. The Pickwick revolution ................................................................................... 8 -
“The Masterpiece” PRODUCTION BIOS MARTHA WILLIAMSON
‘SIGNED, SEALED, DELIVERED’ 1004 “The Masterpiece” PRODUCTION BIOS MARTHA WILLIAMSON (Executive Producer and Creator) - Martha Williamson made television history when her CBS series, "Touched By An Angel" set a new standard for an inspirational family drama when it grew to a weekly audience of 25 million viewers and exploded into more than a billion dollar franchise during its initial 9-year run. As Executive Producer and Head Writer of the ground-breaking series, Williamson was the visionary who guided the show into previously uncharted territory with her unique brand of inspirational story telling that produced more than strong ratings; it changed lives. Correspondence from viewers reveals its continued impact as the series plays in syndication and DVD's worldwide. Williamson then sealed her place in history when she went on to become the first woman to solely executive-produce two one-hour dramas simultaneously, after creating and executive- producing “Promised Land,” which aired for three years on CBS. As the go-to creative executive for inspirational family entertainment, Williamson is consulting with companies that are expanding their brands into the growing genre of faith and family programming. Under her MoonWater Productions banner, she is developing a number of television pilots. Her “Signed, Sealed, Delivered” comic drama is scheduled to air on Hallmark Channel in October 2013. She has also returned to script doctoring and is serving as a Screenwriter and Executive Producer for the remake of Disney's classic family film “Thomasina.” She began her career in comedy, working with the producing teams for Carol Burnett and Joan Rivers and went on to write for and produce situation comedies such as "The Facts of Life," "Family Man," "Jack's Place" and "Living Dolls" for all the networks. -
Social Media Events
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2018 Social Media Events Katerina Girginova University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Communication Commons Recommended Citation Girginova, Katerina, "Social Media Events" (2018). Publicly Accessible Penn Dissertations. 3446. https://repository.upenn.edu/edissertations/3446 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/3446 For more information, please contact [email protected]. Social Media Events Abstract Audiences are at the heart of every media event. They provide legitimation, revenue and content and yet, very few studies systematically engage with their roles from a communication perspective. This dissertation strives to fill precisely this gap in knowledge by asking how do social media audiences participate in global events? What factors motivate and shape their participation? What cultural differences emerge in content creation and how can we use the perspectives of global audiences to better understand media events and vice versa? To answer these questions, this dissertation takes a social-constructivist perspective and a multiple-method case study approach rooted in discourse analysis. It explores the ways in which global audiences are imagined and invited to participate in media events. Furthermore, it investigates how and why audiences actually make use of that invitation via an analytical framework I elaborate called architectures of participation (O’Reilly, 2004). This dissertation inverts the predominant top-down scholarly gaze upon media events – a genre of perpetual social importance – to present a much needed bottom-up intervention in media events literature. It also provides a more nuanced understanding of what it means to be a member of ‘the audience’ in a social media age, and further advances Dayan and Katz’ (1992) foundational media events theory. -
Rebooting Roseanne: Feminist Voice Across Decades
Home > Vol 21, No 5 (2018) > Ford Rebooting Roseanne: Feminist Voice across Decades Jessica Ford In recent years, the US television landscape has been flooded with reboots, remakes, and revivals of “classic” nineties television series, such as Full/er House (1987-1995, 2016- present), Will & Grace (1998-2006, 2017-present), Roseanne (1988-1977, 2018), and Charmed (1998-2006, 2018-present). The term “reboot” is often used as a catchall for different kinds of revivals and remakes. “Remakes” are derivations or reimaginings of known properties with new characters, cast, and stories (Loock; Lavigne). “Revivals” bring back an existing property in the form of a continuation with the same cast and/or setting. “Revivals” and “remakes” both seek to capitalise on nostalgia for a specific notion of the past and access the (presumed) existing audience of the earlier series (Mittell; Rebecca Williams; Johnson). Reboots operate around two key pleasures. First, there is the pleasure of revisiting and/or reimagining characters that are “known” to audiences. Whether continuations or remakes, reboots are invested in the audience’s desire to see familiar characters. Second, there is the desire to “fix” and/or recuperate an earlier series. Some reboots, such as the Charmed remake attempt to recuperate the whiteness of the original series, whereas others such as Gilmore Girls: A Life in the Year (2017) set out to fix the ending of the original series by giving audiences a new “official” conclusion. The Roseanne reboot is invested in both these pleasures. It reunites the original cast for a short-lived, but impactful nine-episode tenth season. -
Broadcasting: Feb 18 Reaching Over 117,000 Readers Every Week 60Th Year 1991
Broadcasting: Feb 18 Reaching over 117,000 readers every week 60th Year 1991 TELEVISION / 38 RADIO / 43 BUSINESS / 54 TECHNOLOGY / 64 Fox gears up in -house Operators endorse Em : roadcasting Fiber -satellite pact: production; network chiefs NAB's DAB objectives, r . ncial Vyvx to backhaul sports bemoan sponsor skittishness question its methods tightropeghtrope for IDB- Hughes FES 1 9 1991 F &F Team Scores A Super Bowl "Three- Peat :' F &F remote facilities teams have gone to the last three Super Bowls ... and come away with a winner every time. From editing and support equipment to Jumbotron production to live feeds overseas, F &F t scored every time. So whenever you need mobile units or location facilities for sports, entertainment, or teleconferencing, call the F &F team. You'll get a super production. Productions, Inc. A subsidiary of Hubbard Broadcasting. Inc. 9675 4th Street North, St. Petersburg, FL 33702 813/576 -7676 800/344 -7676 609LA NI 31(1.0._ PIl w3W WVNONINNfl3 (1 31V1S VNVICNI SlV Ia3S 16/a.W )I(1 +7£0f'8VI213S6081h 9/..5 119I C-f **, * * :^*=`** *::*AM ) IndÏaflapolis 3 - A. Broadcasting i Feb 18 THIS WEEK 27 / MORE INPUT ON endorsed the association's plan to back the Eureka 147 FIN -SYN DAB system and to serve White House Chief of as U.S. licensing agent, other Staff John Sununu weighs in broadcasters have on the fin -syn battle, reservations about the action. underscoring President Last week, at two separate Bush's interest in a meetings in Washington -the deregulatory solution to the Radio Operators Caucus issue. -
Control Issues: Binge-Watching, Channel-Surfing and Cultural Value
. Volume 16, Issue 2 November 2019 Control Issues: Binge-watching, channel-surfing and cultural value Mareike Jenner, Anglia Ruskin University, UK Abstract: This article explores binge-watching as part of neoliberal discourses surrounding control, class and ‘good’ television, which leads to an overall discourse concerning the legitimation and de-legitimation of the medium. Binge-watching is understood here as part of a continuum of viewing practices that help us to understand and discuss the medium in popular discourse. As historical precedent, the emphasis lies on channel-surfing to illustrate the intersection of technology, control and ‘good’ television. This article outlines some of the discourses at stake in channel-surfing and its relationship with remote controls as these ancillary technologies move from being devices associated with avoiding ‘bad’ television to devices that subjugate viewers. Such a discursive de-legitimation of a viewing practice interlinks with an overall de-legitimation of the medium. This precedent is indicative of the way binge-watching’s cultural positioning has been negotiated throughout its history and may be re-negotiated now, especially in relation to Netflix. The dynamics of this negotiation take place at the intersection of class, technology, viewing practices and ‘good’ or ‘quality’ television. In the course of promoting The Innocents (Netflix, 2018- ) in 2018, Guy Pearce stated that he was instructed by Netflix not to use the term binge-watching. This led to an immense amount of press coverage and speculation over company policy. Particularly telling is a Yahoo! Finance piece written by Andy Meek (2018) that speculates that the practice of binge-watching has become ‘low-brow’ and Netflix is seeking to extricate itself from these associations, possibly in advance of launching a more ‘elite’ version of its service in the US. -
Fall 2018 Network Primetime Preview
FALL 2018 PRIMETIME PREVIEW Brought to you by KATZ TV CONTENT STRATEGY CONTENT IS EVERYWHERE TELEVISION MAKES UP THE LION’S SHARE OF VIDEO MEDIA Television 80% Share of Time Spent with Video Media 4:46 Time Spent 5:57 H:MM/day All other with TV Video 20% All Other Video includes TV-Connected Devices (DVD, Game Console, Internet Connected Device); Video on Computer, Video Focused App/Web on Smartphone, Video Focused App/Web on Tablet Source: Nielsen Total Audience Report Q1 2018. Chart based on Total U.S. Population 18+ THE NEW FACES OF BROADCAST…FALL 2018 AND SOME RETURNING ONES TOO! SOME OF BROADCAST’S TOP CONTENT COMPETITORS NOTABLE NEW & RETURNING OTT SERIES NOTABLE NEW & RETURNING CABLE SERIES CONTENT – OTT & CABLE Every day more and more content Broadcast Network content creators defecting Quantity of content does not mean quality Critical, nomination-worthy successes Alternative Programming THE BIG PICTURE A Look at the Performance of All Viewing Sources in Primetime THE BIG PICTURE – PRIMETIME LANDSCAPE 2017/2018 Broadcast Other Pay Cable 7% Broadcast Networks 3% 20% Diginets 2% All Viewing PBS 3% Sources Total HH Share of Audience All Advertiser Supported DVR, VOD, Cable Ent. Vid. Games, 40% 13% News 20% 77% 10% Sports AOT 5% Note: BroadCast Networks=ABC, CBS, NBC, FOX, CW. BroadCast other = Azteca, Estrella, Ion, Telemundo, Univision, Unimas, Independent Broadcast. Diginets=Bounce TV, Cozi TV, EsCape, Grit, Heroes & Icons, LAFF, Me TV and PBS Source: Nielsen NNTV, 09/25/2017 - 05/23/2018, HH Shares, L+SD data. THE BIG PICTURE – PRIMETIME HH LANDSCAPE 2007/2008 2012/2013 2017/2018 58 56 53 -17% 49 48 48 in past 5 years 45 42 40 26 17 3 4 4 4 2012/2013 2017/2018 2007/2008 6 6 7 5 5 5 5 5 7 Broadcast DVR, Video AOT Pay Cable Ad-Supported Cable Ent. -
2018 Television Report
2018 Television Report PHOTO: HBO / Insecure 6255 W. Sunset Blvd. CREDITS: 12th Floor Contributors: Hollywood, CA 90028 Adrian McDonald Corina Sandru Philip Sokoloski filmla.com Graphic Design: Shane Hirschman @FilmLA FilmLA Photography: Shutterstock FilmLAinc HBO ABC FOX TABLE OF CONTENTS INTRODUCTION 2 PRODUCTION OF LIVE-ACTION SCRIPTED SERIES 3 THE INFLUENCE OF DIGITAL STREAMING SERVICES 4 THE IMPACT OF CORD-CUTTING CONSUMERS 4 THE REALITY OF RISING PRODUCTION COSTS 5 NEW PROJECTS: PILOTS VS. STRAIGHT-TO-SERIES ORDERS 6 REMAKES, REBOOTS, REVIVALS—THE RIP VAN WINKLE EFFECT 8 SERIES PRODUCTION BY LOCATION 10 SERIES PRODUCTION BY EPISODE COUNT 10 FOCUS ON CALIFORNIA 11 NEW PROJECTS BY LOCATION 13 NEW PROJECTS BY DURATION 14 CONCLUSION 14 ABOUT THIS REPORT 15 INTRODUCTION It is rare to find someone who does not claim to have a favorite TV show. Whether one is a devotee of a long-running, time-tested procedural on basic cable, or a binge-watching cord-cutter glued to Hulu© on Sunday afternoons, for many of us, our television viewing habits are a part of who we are. But outside the industry where new television content is conceived and created, it is rare to pause and consider how television series are made, much less where this work is performed, and why, and by whom, and how much money is spent along the way. In this study we explore notable developments impacting the television industry and how those changes affect production levels in California and competing jurisdictions. Some of the trends we consider are: growth in the number of live-action scripted series in production, the influence of digital streaming services on this number, increasing production costs and a turn toward remakes and reboots and away from traditional pilot production. -
Scheduling As a Tool of Management in RTÉ Television
Technological University Dublin ARROW@TU Dublin Doctoral Applied Arts 2011-7 Rationalising Public Service: Scheduling as a Tool of Management in RTÉ Television Ann-Marie Murray Technological University Dublin, [email protected] Follow this and additional works at: https://arrow.tudublin.ie/appadoc Part of the Arts Management Commons, Business and Corporate Communications Commons, and the Other Film and Media Studies Commons Recommended Citation Murray, A. (2011) Rationalising Public Service: Scheduling as a Tool of Management in RTÉ Television. Doctoral Thesis, Technological University Dublin. doi:10.21427/D70307 This Theses, Ph.D is brought to you for free and open access by the Applied Arts at ARROW@TU Dublin. It has been accepted for inclusion in Doctoral by an authorized administrator of ARROW@TU Dublin. For more information, please contact [email protected], [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License Rationalising Public Service: Scheduling as a Tool of Management in RTÉ Television Ann-Marie Murray This thesis is submitted to the Dublin Institute of Technology in Candidature for the Degree of Doctor of Philosophy July 2011 School of Media Faculty of Applied Arts Supervisor: Dr. Edward Brennan Abstract Developments in the media industry, notably the increasing commercialisation of broadcasting and deregulation, have combined to create a television system that is now driven primarily by ratings. Public broadcast organisations must adopt novel strategies to survive and compete in this new environment, where they need to combine public service with popularity. In this context, scheduling has emerged as the central management tool, organising production and controlling budgets, and is now the driving force in television. -
Be Afraid to Go to the Doctor: a Thematic Analysis of Systemic
Systemic Barriers to HealthAugust in Film 2020 & TV BE AFRAID TO GO TO THE DOCTOR* A THEMATIC ANALYSIS OF SYSTEMIC BARRIERS TO HEALTH IN FILM AND TELEVISION THEMATIC ANALYSIS PREPARED BY: USC Annenberg Norman Lear Center Shawn Van Valkenburgh, Erica L. Rosenthal *This title is a quote from the NBC series Chicago Med. www.learcenter.org Thematic Analysis page 1 Systemic Barriers to Health in Film & TV TABLE OF CONTENTS 3 INTRODUCTION 5 HEALTH INSURANCE AND ACCESS TO CARE 10 HEALTH INJUSTICE 11 RACE AND HEALTH 17 One Day at a Time: A Case Study 18 GENDER AND HEALTH 22 COLLECTIVE RESPONSES TO HEALTH INJUSTICE 25 CONCLUSION AND RECOMMENDATIONS 27 APPENDIX: METHODOLOGY 31 REFERENCES Thematic Analysis page 2 Systemic Barriers to Health in Film & TV INTRODUCTION America is an individualistic country, insofar as its culture emphasizes personal hard work more than collective generosity, reciprocity, or public welfare (Grossman & Santos, 2016; Baran et al., 2013; Lundell et al., 2013). As a result, Americans tend to think about health in terms of personal choices and responsibility (Metzl, 2010). In contrast to this dominant culture of personal responsibility, a culture of health is defined by the Robert Wood Johnson Foundation as one in which everyone has “access to the care they need and a fair and just opportunity to make healthier choices” (Robert Wood Johnson Foundation, 2020). Cultivating a culture of health that promotes health and well being for all requires a deep understanding of social determinants of health — systemic factors embedded in broader social forces like economic inequality and racial discrimination — that affect individual and community well being. -
Network Primetime & Ott Programming
NETWORK PRIMETIME & OTT PROGRAMMING Flash #1 - 8 October 2018 With the 2018-19 primetime season upon us, we wanted to give you an overall picture of the network landscape for premiere week as well as the content story in general, whether it be on broadcast television, cable or OTT. Keep in mind that this FLASH is only based on a week’s worth of ratings, it is to give you the “lay of the land”, and not to draw any solid conclusions. This FLASH includes: ▪ CHART TOPPERS: Weekly Primetime Wrap-Up-top network and cable performers Page 1 ▪ BY THE NUMBERS-overall network primetime and 10:30-11PM performance Page 2 ▪ TOP IT OFF: TOP 10, TOP 15, TOP 25 PROGRAMS Pages 2-3 ▪ TOP 25 PROGRAMS: NETWORK TALLY Page 4 ▪ WHERE DO THE FRESHMAN SERIES STAND? Page 5 ▪ SCORECARD: WHO TOOK THE NIGHT? Page 5 ▪ ON THE CABLE FRONT-a quick look at cable’s primetime ratings Page 6 ▪ WHAT’S THE BUZZ-a review of social media and how it impacts the new TV season Pages 7-11 WEEKLY HEADLINES ▪ MANIFEST, NEW AMSTERDAM and LAST MAN STANDING topped the freshman entries and their year ago time period levels in HH’s and the key demos. THE BIG BANG THEORY and THIS IS US returned with top status while EMPIRE ruled as FOX’s top scripted series, despite its continued loss of audience. ▪ Primetime NFL FOOTBALL, both on Thursday and especially Sunday, grabbed the most viewers, and for the week of 9/24/18, garnered increases on both nights from same week year ago.