“The Masterpiece” PRODUCTION BIOS MARTHA WILLIAMSON
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Pr-Dvd-Holdings-As-Of-September-18
CALL # LOCATION TITLE AUTHOR BINGE BOX COMEDIES prmnd Comedies binge box (includes Airplane! --Ferris Bueller's Day Off --The First Wives Club --Happy Gilmore)[videorecording] / Princeton Public Library. BINGE BOX CONCERTS AND MUSICIANSprmnd Concerts and musicians binge box (Includes Brad Paisley: Life Amplified Live Tour, Live from WV --Close to You: Remembering the Carpenters --John Sebastian Presents Folk Rewind: My Music --Roy Orbison and Friends: Black and White Night)[videorecording] / Princeton Public Library. BINGE BOX MUSICALS prmnd Musicals binge box (includes Mamma Mia! --Moulin Rouge --Rodgers and Hammerstein's Cinderella [DVD] --West Side Story) [videorecording] / Princeton Public Library. BINGE BOX ROMANTIC COMEDIESprmnd Romantic comedies binge box (includes Hitch --P.S. I Love You --The Wedding Date --While You Were Sleeping)[videorecording] / Princeton Public Library. DVD 001.942 ALI DISC 1-3 prmdv Aliens, abductions & extraordinary sightings [videorecording]. DVD 001.942 BES prmdv Best of ancient aliens [videorecording] / A&E Television Networks History executive producer, Kevin Burns. DVD 004.09 CRE prmdv The creation of the computer [videorecording] / executive producer, Bob Jaffe written and produced by Donald Sellers created by Bruce Nash History channel executive producers, Charlie Maday, Gerald W. Abrams Jaffe Productions Hearst Entertainment Television in association with the History Channel. DVD 133.3 UNE DISC 1-2 prmdv The unexplained [videorecording] / produced by Towers Productions, Inc. for A&E Network executive producer, Michael Cascio. DVD 158.2 WEL prmdv We'll meet again [videorecording] / producers, Simon Harries [and three others] director, Ashok Prasad [and five others]. DVD 158.2 WEL prmdv We'll meet again. Season 2 [videorecording] / director, Luc Tremoulet producer, Page Shepherd. -
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 -
Executive Producer) – Howard Braunstein, a Two-Time Emmy® Nominee, Was Born in 1961 and Raised in Los Angeles
‘LUCKY IN LOVE’ PRODUCTION BIOS HOWARD BRAUNSTEIN (Executive Producer) – Howard Braunstein, a two-time Emmy® nominee, was born in 1961 and raised in Los Angeles. He received his bachelor’s degree in Communication Studies at UCLA and his Master’s Degree from the USC Annenberg School for Communication. He started his career at the FOX Network in 1986, when the network was launched. After working at Fox for five years in the research, scheduling and current programming departments, he departed in 1991 to pursue his lifelong career goal of becoming a producer. He met long-time producer Michael Jaffe and they formed their own production company, Jaffe/Braunstein Films, Ltd. Together, they have produced more than 70 television films and six mini-series for the broadcast networks and cable buyers. 2009’s “The Informant” was Braunstein’s first feature film credit. Recent long-form projects that Braunstein and Jaffe have produced include “The Memory Keeper’s Daughter,” a 2008 telefilm for Lifetime Television and an Emmy nominee for outstanding movie-for-television, the multiple Emmy-nominated “Elvis,” a CBS Television mini-series event starring Golden Globe winner Jonathan Rhys Meyers in the title role, “The Engagement Ring,” starring Patricia Heaton for TNT, an earthquake disaster mini-series for NBC Universal Television titled “10.5 Apocalypse” -- sequel to the original ratings juggernaut -- featuring Kim Delaney and Frank Langella, “Faith of My Fathers,” based on Senator John McCain’s best-selling book, “Touch the Top of the World,” based on the true story of Erik Weihenmayer -- blind since childhood -- who eventually summits Mt. -
How Superman Developed Into a Jesus Figure
HOW SUPERMAN DEVELOPED INTO A JESUS FIGURE CRISIS ON INFINITE TEXTS: HOW SUPERMAN DEVELOPED INTO A JESUS FIGURE By ROBERT REVINGTON, B.A., M.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfillment of the Requirements for the Degree of Master of Arts McMaster University © Copyright by Robert Revington, September 2018 MA Thesis—Robert Revington; McMaster University, Religious Studies McMaster University MASTER OF ARTS (2018) Hamilton, Ontario, Religious Studies TITLE: Crisis on Infinite Texts: How Superman Developed into a Jesus Figure AUTHOR: Robert Revington, B.A., M.A (McMaster University) SUPERVISOR: Professor Travis Kroeker NUMBER OF PAGES: vi, 143 ii MA Thesis—Robert Revington; McMaster University, Religious Studies LAY ABSTRACT This thesis examines the historical trajectory of how the comic book character of Superman came to be identified as a Christ figure in popular consciousness. It argues that this connection was not integral to the character as he was originally created, but was imposed by later writers over time and mainly for cinematic adaptations. This thesis also tracks the history of how Christians and churches viewed Superman, as the film studios began to exploit marketing opportunities by comparing Superman and Jesus. This thesis uses the methodological framework of intertextuality to ground its treatment of the sources, but does not follow all of the assumptions of intertextual theorists. iii MA Thesis—Robert Revington; McMaster University, Religious Studies ABSTRACT This thesis examines the historical trajectory of how the comic book character of Superman came to be identified as a Christ figure in popular consciousness. Superman was created in 1938, but the character developed significantly from his earliest incarnations. -
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. -
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. -
MICHAEL WALE, CSC Director of Photography
MICHAEL WALE, CSC Director of Photography official website TELEVISION (partial list) PEACEMAKER (Ep. 107) HBO Max Dir: Brad Anderson EP: James Gunn DEBRIS (Pilot) NBC, Legendary Television Dir: Brad Anderson EP: J.H. Wyman 50 STATES OF FEAR (Season 1) Quibi Dir: Sam Raimi, Various EP: Sam Raimi MOTHERLAND: FORT SALEM (Season 1) Freeform Dir: Various EP: Will Ferrell, Adam McKay THE LOST BOYS (Pilot) CW, Warner Bros. Dir: Catherine Prod: Soctt Graham Hardwicke SOMEWHERE BETWEEN (Season 1) ITV Studios, ABC Dir: Various Prod: Duane Clark THE END OF THE WORLD AS WE KNOW CW, Alloy Entertainment Dir: Glen Winter Prod: Scott Graham IT iZOMBIE (Seasons 1-5) CW, Warner Bros. Dir: Various Prod: Rob Thomas MIX (Pilot) Le Train Train, ABC Dir: Daniel Barnz Prod: Jennifer Cecil ALMOST HUMAN (Episodes, Season 1) Fox, Bad Robot Dir: Various Prod: J.J. Abrams Trailer FRINGE (Episodes, Seasons 4-5) Fox, Bad Robot Dir: Various Prod: J.J. Abrams Trailer **CONTINUUM (Episodes, Seasons 1-3) Reunion Pictures Dir: Pat Williams, Prod: Simon Barry Trailer Jon Cassar POSSESSING PIPER ROSE (TV Movie) Lifetime Network Dir: Kevin Fair Prod: Clara George *SMALLVILLE (Episodes, Season 10) CW, Warner Bros. Dir: Various Prod: James Marshall THE TROOP (Episodes) Nickelodeon, Tom Lynch Co. Dir: Various Prod: Gary Stephenson SIBLINGS (Pilot) Tom Lynch Co. Dir: Various Prod: Larry Sugar THE ASSISTANTS (Episodes) NTV, Tom Lynch Co. Dir: Various Prod: Gary Stephenson ZIXX LEVEL III, LEVEL II (Episodes) YTV Dir: Various Prod: Alexandra Raffe ROMEO! (Episodes, Season 1-3) Nickelodeon, Tom Lynch Co. Dir: Various Prod: Larry Sugar SK8 (Episodes, Season 1) NBC, Tom Lynch Co. -
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. -
2011 Leo Award Nominees & Winners
2011 LEO AWARD NOMINEES & WINNERS BEST FEATURE LENGTH DRAMA WINNER Gunless Shawn Williamson, Stephen Hegyes, Niv Fichman - Producers NOMINEES Fathers&Sons Carl Bessai, Jason James - Producers Repeaters Jason James, Carl Bessai, Irene Nelson, Richard de Klerk, Melanie de Klerk - Producers Transparency Matt Kelly, Navid Soofi, Nima Soofi - Producers Tucker & Dale vs Evil Rosanne Milliken, Crawford Hawkins - Producers Page 1 of 75 2011 LEO AWARD NOMINEES & WINNERS BEST DIRECTION FEATURE LENGTH DRAMA WINNER Raul Inglis Transparency NOMINEES Terry Miles A Night For Dying Tigers Carl Bessai Repeaters Page 2 of 75 2011 LEO AWARD NOMINEES & WINNERS BEST SCREENWRITING FEATURE LENGTH DRAMA WINNER Dennis Foon Life, Above All NOMINEES Terry Miles A Night For Dying Tigers Arne Olsen Repeaters Andrew Genaille Two Indians Talking Page 3 of 75 2011 LEO AWARD NOMINEES & WINNERS BEST CINEMATOGRAPHY FEATURE LENGTH DRAMA WINNER Greg Middleton Gunless NOMINEES Terry Miles, Lindsay George A Night For Dying Tigers Carl Bessai Repeaters Michael Blundell Transparency David Geddes Tucker & Dale vs Evil Page 4 of 75 2011 LEO AWARD NOMINEES & WINNERS BEST PICTURE EDITING FEATURE LENGTH DRAMA WINNER Richard Martin Transparency NOMINEES Terry Miles A Night For Dying Tigers Chris Bizzocchi Altitude Lisa Binkley One Angry Juror Mark Shearer Repeaters Page 5 of 75 2011 LEO AWARD NOMINEES & WINNERS BEST OVERALL SOUND FEATURE LENGTH DRAMA WINNER Graham Timmer, Jeff Davis, Bill Sheppard, Gordon Sproule Altitude NOMINEES Jeff Jackman, Greg Stewart, Miguel Nunes, Lars Ekstrom -
CONTENT MATTERS-Upfront Update
CONTENT MATTERS IDEAS THAT IMPACT THE CONTENT BUSINESS 2018 Q2 Issue #3 The annual network upfront presentations are behind us. Throughout the week, we tracked trade, business, and technology publications and selected five articles to provide a snapshot of key talking points and questions raised in presentations, parties, and conference rooms. The range of issues here is testament to the moment of profound industry change we are all trying to navigate as we manage our businesses. 1. A TV Season Full of Lessons While some season finales have not yet aired, the general consensus is that we saw some real hits and a few misses over the past season. This week’s upfront presentations suggested network executives were paying attention and are applying what they learned to strategies for next season. 2. Why Traditional TV is in Trouble It’s become an annual refrain — TV is on the brink. But, despite the doom and gloom, all evidence suggests the industry’s resilience and a determination by professionals to forge a path from a strong legacy to an exciting and economically viable future. 3. ESPN Chief Wants to Cultivate Younger Viewers It’s fairly simple — we all work in digital media now. Whether we define ourselves as TV broadcasters and producers, we cannot escape that digital is a critical pillar of our new reality and that we 5 need to think about it even as we develop content and advertising for broadcast. ESPN is making digital a central part of its THINGS reinvention to engage younger audiences, which could provide valuable examples for the entire industry to apply in the future. -
And Their Production Cultures: Transnational Discourses Within the German Television Industry
CULTURE / RECEPTION / CONSUMPTIONS ‘QUALITY SERIES’ AND THEIR PRODUCTION CULTURES: TRANSNATIONAL DISCOURSES WITHIN THE GERMAN TELEVISION INDUSTRY FLORIAN KRAUß Name Florian Krauß asked not only in often polemic feuilleton debates, but Academic centre University Siegen, Germany also within the television sector. My paper takes a closer E-mail address [email protected] look at this industry discourse on ‘quality series’ within the gen.de German context and explores it on the basis of participant observations at industry workshops and expert interviews KEYWORDS with scriptwriters, producers and commissioning editors German TV; quality series; quality TV; media industry (Redakteure). As will be seen, these actors of story studies; production studies; story development. development negotiate and define ‘quality series’ in a transnational manner, particularly by comparing TV fiction from Germany with such productions from the US and ABSTRACT Scandinavia and focussing on their supposed features For several years now, both television critics in the feature of storytelling. The TV makers’ discourse, furthermore, pages (Diez and Hüetlin 2013) or in trade magazines bears historical traits as they trace the current state of (Zarges 2015) and television practitioners (Stuckmann series from Germany back to historical developments and 2015) have been discussing the state and quality of structures. Thereby they diagnose the ‘local’ and ‘national’ fictional series from Germany. Very often, they have made of German series. Transnational and ‘glocal’ dimensions out considerable deficits in comparison with supposed can also be found in their discussion of production ‘quality TV’ from the US or Scandinavia (e.g. Förster cultures. It is suggested by several practitioners that 2014).