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February 26, 2021 Amazon Warehouse Workers In
February 26, 2021 Amazon warehouse workers in Bessemer, Alabama are voting to form a union with the Retail, Wholesale and Department Store Union (RWDSU). We are the writers of feature films and television series. All of our work is done under union contracts whether it appears on Amazon Prime, a different streaming service, or a television network. Unions protect workers with essential rights and benefits. Most importantly, a union gives employees a seat at the table to negotiate fair pay, scheduling and more workplace policies. Deadline Amazon accepts unions for entertainment workers, and we believe warehouse workers deserve the same respect in the workplace. We strongly urge all Amazon warehouse workers in Bessemer to VOTE UNION YES. In solidarity and support, Megan Abbott (DARE ME) Chris Abbott (LITTLE HOUSE ON THE PRAIRIE; CAGNEY AND LACEY; MAGNUM, PI; HIGH SIERRA SEARCH AND RESCUE; DR. QUINN, MEDICINE WOMAN; LEGACY; DIAGNOSIS, MURDER; BOLD AND THE BEAUTIFUL; YOUNG AND THE RESTLESS) Melanie Abdoun (BLACK MOVIE AWARDS; BET ABFF HONORS) John Aboud (HOME ECONOMICS; CLOSE ENOUGH; A FUTILE AND STUPID GESTURE; CHILDRENS HOSPITAL; PENGUINS OF MADAGASCAR; LEVERAGE) Jay Abramowitz (FULL HOUSE; GROWING PAINS; THE HOGAN FAMILY; THE PARKERS) David Abramowitz (HIGHLANDER; MACGYVER; CAGNEY AND LACEY; BUCK JAMES; JAKE AND THE FAT MAN; SPENSER FOR HIRE) Gayle Abrams (FRASIER; GILMORE GIRLS) 1 of 72 Jessica Abrams (WATCH OVER ME; PROFILER; KNOCKING ON DOORS) Kristen Acimovic (THE OPPOSITION WITH JORDAN KLEPPER) Nick Adams (NEW GIRL; BOJACK HORSEMAN; -
Touchstones of Popular Culture Among Contemporary College Students in the United States
Minnesota State University Moorhead RED: a Repository of Digital Collections Dissertations, Theses, and Projects Graduate Studies Spring 5-17-2019 Touchstones of Popular Culture Among Contemporary College Students in the United States Margaret Thoemke [email protected] Follow this and additional works at: https://red.mnstate.edu/thesis Part of the Higher Education and Teaching Commons Recommended Citation Thoemke, Margaret, "Touchstones of Popular Culture Among Contemporary College Students in the United States" (2019). Dissertations, Theses, and Projects. 167. https://red.mnstate.edu/thesis/167 This Thesis (699 registration) is brought to you for free and open access by the Graduate Studies at RED: a Repository of Digital Collections. It has been accepted for inclusion in Dissertations, Theses, and Projects by an authorized administrator of RED: a Repository of Digital Collections. For more information, please contact [email protected]. Touchstones of Popular Culture Among Contemporary College Students in the United States A Thesis Presented to The Graduate Faculty of Minnesota State University Moorhead By Margaret Elizabeth Thoemke In Partial Fulfillment of the Requirements for the Degree of Master of Arts in Teaching English as a Second Language May 2019 Moorhead, Minnesota iii Copyright 2019 Margaret Elizabeth Thoemke iv Dedication I would like to dedicate this thesis to my three most favorite people in the world. To my mother, Heather Flaherty, for always supporting me and guiding me to where I am today. To my husband, Jake Thoemke, for pushing me to be the best I can be and reminding me that I’m okay. Lastly, to my son, Liam, who is my biggest fan and my reason to be the best person I can be. -
Audience Affect, Interactivity, and Genre in the Age of Streaming TV
. Volume 16, Issue 2 November 2019 Navigating the Nebula: Audience affect, interactivity, and genre in the age of streaming TV James M. Elrod, University of Michigan, USA Abstract: Streaming technologies continue to shift audience viewing practices. However, aside from addressing how these developments allow for more complex serialized streaming television, not much work has approached concerns of specific genres that fall under the field of digital streaming. How do emergent and encouraged modes of viewing across various SVOD platforms re-shape how audiences affectively experience and interact with genre and generic texts? What happens to collective audience discourses as the majority of viewers’ situated consumption of new serial content becomes increasingly accelerated, adaptable, and individualized? Given the range and diversity of genres and fandoms, which often intersect and overlap despite their current fragmentation across geographies, platforms, and lines of access, why might it be pertinent to reconfigure genre itself as a site or node of affective experience and interactive, collective production? Finally, as studies of streaming television advance within the industry and academia, how might we ponder on a genre-by- genre basis, fandoms’ potential need for time and space to collectively process and interact affectively with generic serial texts – in other words, to consider genres and generic texts themselves as key mediative sites between the contexts of production and those of fans’ interactivity and communal, affective pleasure? This article draws together threads of commentary from the industry, scholars, and culture writers about SVOD platforms, emergent viewing practices, speculative genres, and fandoms to argue for the centrality of genre in interventions into audience studies. -
February 2019 NASFA Shuttle
Te Shutle February 2019 The Next NASFA Meeting is Saturday 16 February 2018 at Willowbrook Madison normal 3rd Saturday, except: d Oyez, Oyez d • 23 March—a week late (4th Saturday) to avoid MidSouthCon All meetings are currently scheduled to be at the church, with The next NASFA Meeting will be 16 February 2019, at the the Business Meeting starting at 6P. However, as programs for regular meeting location and the regular time (6P). See the map the year develop, changes may be made to the place, the start below, at right for directions to Willowbrook Baptist Church time, or both. Stay tuned. (Madison campus; 446 Jeff Road). See the map on page 2 for a SHUTTLE DEADLINES closeup of parking at the church as well as how to find the In general, the monthly Shuttle production schedule (though meeting room (“The Huddle”), which is close to one of the a bit squishy) is to put each issue to bed about 6–8 days before back doors toward the north side of the church. Please do not the corresponding monthly meeting. Submissions are needed as try to come in the (locked) front door. far in advance of that as possible. FEBRUARY PROGRAM Please check the deadline below the Table of Contents each The February Program will be a talk by Glenn Taylor, man- month to submit news, reviews, LoCs, or other material. ager of the Huntsville Regional Traffic Management Center of JOINING THE NASFA EMAIL LIST the Alabama Department of Transportation. The topic is AL- All NASFAns who have email are urged to join our email DOT’s Intelligent Transportation System, the goal of which is list, which you can do online at <tinyurl.com/NASFAEmail>. -
Television Academy Awards
2019 Primetime Emmy® Awards Ballot Outstanding Comedy Series A.P. Bio Abby's After Life American Housewife American Vandal Arrested Development Atypical Ballers Barry Better Things The Big Bang Theory The Bisexual Black Monday black-ish Bless This Mess Boomerang Broad City Brockmire Brooklyn Nine-Nine Camping Casual Catastrophe Champaign ILL Cobra Kai The Conners The Cool Kids Corporate Crashing Crazy Ex-Girlfriend Dead To Me Detroiters Easy Fam Fleabag Forever Fresh Off The Boat Friends From College Future Man Get Shorty GLOW The Goldbergs The Good Place Grace And Frankie grown-ish The Guest Book Happy! High Maintenance Huge In France I’m Sorry Insatiable Insecure It's Always Sunny in Philadelphia Jane The Virgin Kidding The Kids Are Alright The Kominsky Method Last Man Standing The Last O.G. Life In Pieces Loudermilk Lunatics Man With A Plan The Marvelous Mrs. Maisel Modern Family Mom Mr Inbetween Murphy Brown The Neighborhood No Activity Now Apocalypse On My Block One Day At A Time The Other Two PEN15 Queen America Ramy The Ranch Rel Russian Doll Sally4Ever Santa Clarita Diet Schitt's Creek Schooled Shameless She's Gotta Have It Shrill Sideswiped Single Parents SMILF Speechless Splitting Up Together Stan Against Evil Superstore Tacoma FD The Tick Trial & Error Turn Up Charlie Unbreakable Kimmy Schmidt Veep Vida Wayne Weird City What We Do in the Shadows Will & Grace You Me Her You're the Worst Young Sheldon Younger End of Category Outstanding Drama Series The Affair All American American Gods American Horror Story: Apocalypse American Soul Arrow Berlin Station Better Call Saul Billions Black Lightning Black Summer The Blacklist Blindspot Blue Bloods Bodyguard The Bold Type Bosch Bull Chambers Charmed The Chi Chicago Fire Chicago Med Chicago P.D. -
Mental Health Theming in Bojack Horseman Peyton Barranco COM
Mental Health Theming in BoJack Horseman Peyton Barranco COM 262: Research Methods in Media Studies May 15, 2020 Introduction Netflix’s adult animated comedy series BoJack Horseman follows the titular character, BoJack Horseman (Will Arnett), who is an anthropomorphic horse and a washed-up celebrity. BoJack struggles with depression and substance abuse issues, and he has difficulty maintaining healthy relationships. The animated world of BoJack Horseman is a bright, colorful image of Hollywood which is populated by an array of both anthropomorphic animals and humans. Despite the series’ vivid art style and its quick-witted humor, BoJack Horseman investigates themes related to mental health, such as depression, substance abuse, and trauma. As the show progresses throughout its six seasons, the series dives deeper into these themes. Though these themes on mental health are primarily conveyed through BoJack’s character arc, the supporting cast have their own plotlines which communicate different perspectives on these same themes. It is noteworthy that BoJack Horseman, an adult animated comedy about a depressed anthropomorphic horse, offers an insightful and artistic representation of themes on depression and trauma. BoJack Horseman is relatively unique in its nuanced representation of mental illness. Though the series is an animated adult comedy, there are few other television series or films that approach mental illness with a similar combination of tact and creativity. BoJack Horseman may be able to provide insight into how sophisticated representations of mental illness in media can impact viewers’ attitudes towards or impressions of mental illness. In this research paper, I investigate how BoJack Horseman makes use of its genre and animated medium to communicate its themes related to mental health. -
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. -
Documental De Narcos En Netflix
Documental De Narcos En Netflix Sparing and olde-worlde Hendrik fagot almost recently, though Hayes shooks his gibberellins jutties. Garvin telecasts his matrass crenelled denumerably, but heavy-handed Rodge never skirls so erratically. Briery Georgia flubs his sonatas ice-skates milkily. Pedro Pascal relativiza su continuidad en Narcos tras exigencias de hermano. El cartel movie Osiedle Tygrysie. Also known registrations can be the. The Netflix original series Narcos and its spinoff Narcos Mexico will begin airing free and. Netflix tiene un amplio catlogo de pelculas series documentales animes. No decepciona como violenta expansin del universo estrella de Netflix. Believed to see in narcos deliberately proposes an online or even invited to netflix, de operações especiais junto ao corpo do you help. Il tuo punto de narcos es que todos tus temas en la cotidianeidad de. Each mausoleum is narcos work cut out at the sunshine state, en persona por la dea lo hizo todo tipo de la casa editorial. Andrés lópez y en la de pelÃculas y vÃdeos de sorprender que otorga el documental de narcos en netflix es de deshumanización muy interesantes. La serie documental de Netflix 'Cuando conoc al Chapo la historia de. Directed by Shaul Schwarz To a growing despite of Mexicans and Latinos in the Americas narco traffickers have become iconic outlaws and baby new models of. Contenido relacionado 5 Documentales sobre Marihuana para Ver en Netflix. The truth universally acknowledged that they did not supported by joining, en clave documental de narcos en netflix, en la tercera en tanto éxito que seremos tratados con tintes de. -
Animals and Social Critique in Bojack Horseman
Animals and Social Critique in BoJack Horseman Word count: 19,680 Lander De Koster Student number: 01402278 Supervisor(s): Prof. Dr. Marco Caracciolo A dissertation submitted to Ghent University in partial fulfilment of the requirements for the degree of Master of Arts in de Vergelijkende Moderne Letterkunde Academic year: 2017 – 2018 Statement of Permission For Use On Loan The author and the supervisor give permission to make this master’s dissertation available for consultation and for personal use. In the case of any other use, the copyright terms have to be respected, in particular with regard to the obligation to state expressly the source when quoting results from this master’s dissertation. The copyright with regard to the data referred to in this master’s dissertation lies with the supervisor. Copyright is limited to the manner in which the author has approached and recorded the problems of the subject. The author respects the original copyright of the individually quoted studies and any accompanying documentation, such as tables and graphs. 2 Table of Contents Introduction ....................................................................................................................................... 4 Chapter 1: Analysis of the Character BoJack Horseman .................................................................... 9 Chapter 2: Theoretical Background: Postmodernity According to Theories by Baudrillard and Simmel ............................................................................................................................................ -
DIGITAL ORIGINAL SERIES Global Demand Report
DIGITAL ORIGINAL SERIES Global Demand Report Trends in 2016 Copyright © 2017 Parrot Analytics. All rights reserved. Digital Original Series — Global Demand Report | Trends in 2016 Executive Summary } This year saw the release of several new, popular digital } The release of popular titles such as The Grand Tour originals. Three first-season titles — Stranger Things, and The Man in the High Castle caused demand Marvel’s Luke Cage, and Gilmore Girls: A Year in the for Amazon Video to grow by over six times in some Life — had the highest peak demand in 2016 in seven markets, such as the UK, Sweden, and Japan, in Q4 of out of the ten markets. All three ranked within the 2016, illustrating the importance of hit titles for SVOD top ten titles by peak demand in nine out of the ten platforms. markets. } Drama series had the most total demand over the } As a percentage of all demand for digital original series year in these markets, indicating both the number and this year, Netflix had the highest share in Brazil and popularity of titles in this genre. third-highest share in Mexico, suggesting that the other platforms have yet to appeal to Latin American } However, some markets had preferences for other markets. genres. Science fiction was especially popular in Brazil, while France, Mexico, and Sweden had strong } Non-Netflix platforms had the highest share in Japan, demand for comedy-dramas. where Hulu and Amazon Video (as well as Netflix) have been available since 2015. Digital Original Series with Highest Peak Demand in 2016 Orange Is Marvels Stranger Things Gilmore Girls Club De Cuervos The New Black Luke Cage United Kingdom France United States Germany Mexico Brazil Sweden Russia Australia Japan 2 Copyright © 2017 Parrot Analytics. -
1 Weirding the Outside: the OA and the New Weird the OA Is a Show About a Young Woman Known As OA, Or Prairie As Her Foster Pare
1 Weirding the Outside: The OA and the New Weird The OA is a show about a young woman known as OA, or Prairie as her foster parents call her, who comes back to her town having been gone for more than seven years. There are two main storylines, one set after OA returns and one told as a narrated flashback by OA to a group of friends. In the present storyline, OA’s foster parents, the police, and the community have no idea what she went through. OA refuses to say where she has been but miraculously she can now see. OA finds a group of five friends whom she tells her story to. This begins the narrated flashback sequences which dominate most of show’s middle episodes. She was held captive by a doctor, Hap, who investigates near death experiences. The doctor believes that he can find the truth to the afterlife. He does so by constantly killing and bringing back OA and the four other people. Indeed, OA and the others go to some unknown dimension, bringing back knowledge of healing and interdimensional travel. Having brought back enough knowledge, OA is left on the side of the road to make her own way home. Having told the story to her friends the show ends dramatically with a school shooting. The friends use the inter-dimensional traveling dance to distract the shooter for long enough that the cook can overpower him. OA is shot by accident and is driven away in an ambulance as strange sounds are heard, possibly from the rings of Saturn. -
Narcos No Facebook [1] Signos Do Consumo, Vol
Signos do Consumo ISSN: 1984-5057 [email protected] Universidade de São Paulo Brasil Braga Bezerra, Beatriz; Ofemann, Rafael Humor, ironia e intertextualidade: produção e consumo da série Narcos no Facebook [1] Signos do Consumo, vol. 8, núm. 2, 2016, Julho-, pp. 54-66 Universidade de São Paulo Brasil Disponível em: https://www.redalyc.org/articulo.oa?id=350260562003 Como citar este artigo Número completo Sistema de Informação Científica Redalyc Mais informações do artigo Rede de Revistas Científicas da América Latina e do Caribe, Espanha e Portugal Site da revista em redalyc.org Sem fins lucrativos acadêmica projeto, desenvolvido no âmbito da iniciativa acesso aberto HUMOR, IRONIA E INTERTEXTUALIDADE: PRODUÇÃO E CONSUMO DA SÉRIE NARCOS NO FACEBOOK Humor, ironía y intertextualidad: producción y consumo de la serie Narcos en Facebook artigo Humor, irony and intertextuality: production and consumption of the series Narcos on Facebook Beatriz Braga Bezerra e Rafael Ofemann Doutoranda em comunicação e práticas do consumo no Programa de Pós-Graduação da Escola Superior de Propaganda e Marketing (PPGCOM/ESPM). Mestre em comunicação pelo Programa de Pós-Graduação da Universidade Federal de Pernambuco (PPGCOM/UFPE). Email: [email protected] Rafael Ofemann Mestrando em comunicação e práticas do consumo no Programa de Pós-Graduação da Escola Superior de Propaganda e Marketing (PPGCOM/ESPM). Email: [email protected] RESUMO As webséries já se consolidam como prática cultural contemporânea, estruturando novos modelos de negócio e de consumo no setor audiovisual. Objetivamos analisar a página de Narcos no Facebook buscando compreender sua atuação para informar e cativar o público diante de um cenário de múltiplas plataformas e viralização de conteúdos.