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Media Nations 2019
Media nations: UK 2019 Published 7 August 2019 Overview This is Ofcom’s second annual Media Nations report. It reviews key trends in the television and online video sectors as well as the radio and other audio sectors. Accompanying this narrative report is an interactive report which includes an extensive range of data. There are also separate reports for Northern Ireland, Scotland and Wales. The Media Nations report is a reference publication for industry, policy makers, academics and consumers. This year’s publication is particularly important as it provides evidence to inform discussions around the future of public service broadcasting, supporting the nationwide forum which Ofcom launched in July 2019: Small Screen: Big Debate. We publish this report to support our regulatory goal to research markets and to remain at the forefront of technological understanding. It addresses the requirement to undertake and make public our consumer research (as set out in Sections 14 and 15 of the Communications Act 2003). It also meets the requirements on Ofcom under Section 358 of the Communications Act 2003 to publish an annual factual and statistical report on the TV and radio sector. This year we have structured the findings into four chapters. • The total video chapter looks at trends across all types of video including traditional broadcast TV, video-on-demand services and online video. • In the second chapter, we take a deeper look at public service broadcasting and some wider aspects of broadcast TV. • The third chapter is about online video. This is where we examine in greater depth subscription video on demand and YouTube. -
Registration Packet 2015-16
! Registration Packet 2015-16 Faculty Artur Sultanov, Artistic Director Mr. Sultanov was born and raised in St. Petersburg, Russia. He trained at Vaganova Ballet Academy and at age 17, joined the Kirov ballet where he danced a classical repertoire. Artur has also performed with Eifman Ballet as a Soloist. In 2000 he moved to San Francisco to join Alonzo King’s Lines Ballet. In 2003 Artur joined Oregon Ballet Theatre. His principal roles at OBT include the Prince in Swan Lake, Ivan in Firebird, and the Cavalier in the Nutcracker, among others. Mr. Sultanov has performed on the stages of the Metropolitan Opera House, Kennedy Center, Bolshoi Ballet Theatre, and the Mariisnky Theatre in his native city of St. Petersburg. In addition to being an accomplished dancer, Mr. Sultanov has also taught extensively throughout his professional career. In the past eight years, Mr. Sultanov has taught and choreographed for the school of Oregon Ballet Theatre and Lines Contemporary Ballet School of San Francisco. His vast experience also includes holding master workshops in the Portland Metro Area, Seaside, OR, Vancouver and Tacoma, Washington. Artur Sultanov is excited to be a part of the Portland dance community and is looking forward to inspiring a new generation of dancers. Vanessa Thiessen Vanessa Thiessen is originally from Portland, OR. She trained at the School of Oregon Ballet Theatre, with James Canfield, and continued on to dance for Oregon Ballet Theatre from 1995-2003. At OBT she danced leading roles in Gissele and Romeo and Juliet. After moving to San Francisco in 2003, she danced with Smuin Ballet, ODC Dance, Amy Seiwert’s Imagery, Opera Parallele and Tanya Bello’s Project b. -
Choreography for the Camera AB
Course Title CHOREOGRAPHY FOR THE CAMERA A/B Course CHORFORCAMER A/B Abbreviation Course Code 190121/22 Number Special Notes Year course. Prerequisite: 1 semester of any dance composition class, and 1 semester of any dance technique class. Prerequisite can be waived based-on comparable experience. Course This course provides a practical and theoretical introduction to dance for the camera, Description including choreography, video production and post-production as pertains to this genre of experimental filmmaking. To become familiar with the form, students will watch, read about, and discuss seminal dance films. Through studio-based exercises, viewings and discussions, we will consider specific approaches to translating, contextualizing, framing, and structuring movement in the cinematic format. Choreographic practices will be considered and practiced in terms of the spatial, temporal and geographic alternatives that cinema offers dance – i.e. a three-dimensional, and sculptural presentation of the body as opposed to the proscenium theatre. We will practice effectively shooting dance with video cameras, including basic camera functions, and framing, as well as employing techniques for play on gravity, continuity of movement and other body-focused approaches. The basics of non-linear editing will be taught alongside the craft of editing. Students will fulfill hands-on assignments imparting specific techniques. For mid-year and final projects, students will cut together short dance film pieces that they have developed through the various phases of the course. Students will have the option to work independently, or in teams on each of the assignments. At the completion of the course, students should have an informed understanding of the issues involved with translating the live form of dance into a screen art. -
Securing Our Dance Heritage: Issues in the Documentation and Preservation of Dance by Catherine J
Securing Our Dance Heritage: Issues in the Documentation and Preservation of Dance by Catherine J. Johnson and Allegra Fuller Snyder July 1999 Council on Library and Information Resources Washington, D.C. ii About the Contributors Catherine Johnson served as director for the Dance Heritage Coalition’s Access to Resources for the History of Dance in Seven Repositories Project. She holds an M.S. in library science from Columbia University with a specialization in rare books and manuscripts and a B.A. from Bethany College with a major in English literature and theater. Ms. Johnson served as the founding director of the Dance Heritage Coalition from 1992 to 1997. Before that, she was assistant curator at the Harvard Theatre Collection, where she was responsible for access, processing, and exhibitions, among other duties. She has held positions at The New York Public Library and the Folger Shakespeare Library. Allegra Fuller Snyder, the American Dance Guild’s 1992 Honoree of the Year, is professor emeritus of dance and former director of the Graduate Program in Dance Ethnology at the University of California, Los Angeles. She has also served as chair of the faculty, School of the Arts, and chair of the Department of Dance at UCLA. She was visiting professor of performance studies at New York University and honorary visiting professor at the University of Surrey, Guildford, England. She has written extensively and directed several films about dance and has received grants from NEA and NEH in addition to numerous honors. Since 1993, she has served as executive director, president, and chairwoman of the board of directors of the Buckminster Fuller Institute. -
AM Tanny Bio FINAL
Press Contact: Natasha Padilla, WNET 212.560.8824, [email protected] Press Materials: http://pbs.org/pressroom or http://thirteen.org/pressroom Websites: http://pbs.org/americanmasters , http://facebook.com/americanmasters , @PBSAmerMasters , http://pbsamericanmasters.tumblr.com , http://youtube.com/AmericanMastersPBS , #AmericanMasters American Masters Tanaquil Le Clercq: Afternoon of a Faun Premieres nationally Friday, June 20, 10-11:30 p.m. on PBS (check local listings) Tanaquil Le Clercq Bio Born in Paris in 1929, Tanaquil was the daughter of a French intellectual and a society matron from St. Louis. When Tanny was 3, they moved to New York where Jacques Le Clercq taught romance languages. Tanny began ballet training in New York at age 5, studying with Mikhail Mordkin. She eventually transitioned to the School of American Ballet, which George Balanchine had founded in 1934. Balanchine discovered Tanny as a student there. He cast her as Choleric in The Four Temperaments at the tender age of 15, along with the great prima ballerinas in his company, then called Ballet Society. Before long she was dancing solo roles as a member of Ballet Society, never having danced in the corps de ballet. Some of Balanchine’s most memorable ballets were choreographed on Tanny; notably Symphony in C, La Valse, Concerto Barocco and Western Symphony . She was the original Dew Drop in The Nutcracker. Jerome Robbins was also fascinated with Tanny; famously attributing his enchantment with her unique style of dancing with his decision to join the New York City Ballet and work under Balanchine as both a dancer and choreographer. It was there he created his radical version of Afternoon of a Faun on Tanny. -
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. -
Umass Fine Arts Center Concert Hall
umassumass finefine artsarts center center CENTERCENTER SERIESSERIES 2008–20092008–2009 1 1 2 3 2 3 playbill playbill 1 Paul Taylor Dance Company 11/13/08 2 Avery Sharpe Trio 11/21/08 3 Soweto Gospel Choir 12/03/08 1 Paul Taylor Dance Company 11/13/08 2 Avery Sharpe Trio 11/21/08 3 Soweto Gospel Choir 12/03/08 UMA021-PlaybillCover.indd 3 8/6/08 11:03:54 PM UMA021-PlaybillCover.indd 3 8/6/08 11:03:54 PM DtCokeYoga8.5x11.qxp 5/17/07 11:30 AM Page 1 DC-07-M-3214 Yoga Class 8.5” x 11” YOGA CLASS ©2007The Coca-Cola Company. Diet Coke and the Dynamic Ribbon are registered trademarks The of Coca-Cola Company. 2 We’ve mastered the fine art of health care. Whether you need a family doctor or a physician specialist, in our region it’s Baystate Medical Practices that takes center stage in providing quality and excellence. From Greenfield to East Longmeadow, from young children to seniors, from coughs and colds to highly sophisticated surgery — we’ve got the talent and experience it takes to be the best. Visit us at www.baystatehealth.com/bmp 3 &ALLON¬#OMMUNITY¬(EALTH¬0LAN IS¬PROUD¬TO¬SPONSOR¬THE 5-ASS¬&RIENDS¬OF¬THE¬&INE¬!RTS¬#ENTER 4 5 Supporting The Community We Live In Helps Create a Better World For All Of Us Allen Davis, CFP® and The Davis Group Are Proud Supporters of the Fine Arts Center! The work we do with our clients enables them to share their assets with their families, loved ones, and the causes they support. -
The Power of Dance How Your Passion and Appreciation Provides Opportunity and Growth
BALLET ARIZONA DONOR IMPACT Foundation Highlight: Donor Spotlight: Letter From the Q&A: Mayo Clinic Tracy Olson Executive Director: Artistic Director REPORT Samantha Turner Ib Andersen TURNING POINTE The Power of Dance How your passion and appreciation provides opportunity and growth. Ballet Arizona dancers in Theme and Variations. Choreography by George Balanchine © The George Balanchine Trust. Photo by Rosalie O'Connor. SPRING From the main stage to classrooms across the Valley, dance continues to inspire and bring people together. As the curtain begins to close on our 2018 – 2019 season, I BEHIND THE SCENES am reminded about the power of dance. This spring season with Ib Andersen is an ode to that power and we begin with a celebration of George Balanchine. I am excited that we are finally bringing Q: What can audiences expect from the Emeralds to the Arizona stage for All Balanchine. This is one of Balanchine’s most poetic ballets. From the choreography to the Balanchine program this year? music, is it a treat for both dancers and audiences. Of course, A: A lot of dancing! But in all seriousness, this program is very rich we end the season at Desert Botanical Garden with Eroica. This with three very different ballets, all having three very distinct styles. is one of my favorite ballets that I have created and it should be even better than last year! Theme and Variations is so exciting to watch. Balanchine created this ballet in 1947 for American Ballet Theatre. It was an homage In this issue, Executive Director Samantha Turner talks about to Marius Petipa and a continuation of his old style of ballet the impact new works have on ballet in today’s world. -
World on Fire
Biographical Notes World on Fire Peter Bowker Writer, World on Fire MASTERPIECE fans remember Peter Bowker’s impassioned adaptation of Wuthering Heights from 2009, which captured Emily Brontë’s masterpiece in all its complexity. With World on Fire he has created a plot with even more twists, turns, and memorable characters, centered on the chaotic events at the outset of World War II. Bowker has been an established screenwriter in the U.K since penning scripts for Casualty in the early 1990s. Since then, he has written for many long-running series such as Where the Heart Is and Clocking Off. His original work has included Undercover Heart; Flesh and Blood, for which he won Best Writer at the RTS Awards; Blackpool, which was awarded BANFF Film Festival Best Mini-Series and Global Television Grand Prize; and Occupation, which was awarded Best Drama Serial at the BAFTA Awards, in addition to Best Short-Form Drama at the WGGB Awards and another RTS Best Writer Award. He has since written Eric and Ernie and Marvellous. Both productions have won prestigious awards, including a Best Drama BAFTA for Marvellous, which became the most popular BBC2 single drama of the last 20 years. Most recently he has written an adaptation of John Lanchester’s novel Capital and two series of the acclaimed The A Word. Julia Brown Lois Bennett, World on Fire Driven to escape her cheating lover and dysfunctional family, Julia Brown’s character in World on Fire finds a wartime role that exploits her remarkable singing talent. Luckily, Brown herself is a gifted vocalist and sang much of the soundtrack that accompanies the episodes. -
Atheneum Nantucket Dance Festival
NANTUCKET ATHENEUM DANCE FESTIVAL 2011 Featuring stars of New York City Ballet & Paris Opera Ballet Benjamin Millepied Artistic Director Dorothée Gilbert Teresa Reichlen Amar Ramasar Sterling Hyltin Tyler Angle Daniel Ulbricht Maria Kowroski Alessio Carbone Ana Sofia Scheller Sean Suozzi Chase Finlay Georgina Pazcoguin Ashley Laracey Justin Peck Troy Schumacher Musicians Cenovia Cummins Katy Luo Gillian Gallagher Naho Tsutsui Parrini Maria Bella Jeffers Brooke Quiggins Saulnier Cover: Photo of Benjamin Millepied by Paul Kolnik 1 Welcometo the Nantucket Atheneum Dance Festival! For 177 years the Nantucket Atheneum has enriched our island community through top quality library services and programs. This year the library served more than 200,000 adults, teens and children year round with free access to over 1.4 million books, CDs, and DVDs, reference and information services and a wide range of cultural and educational programs. In keeping with its long-standing tradition of educational and cultural programming, the Nantucket Atheneum is very excited to present a multifaceted dance experience on Nantucket for the fourth straight summer. This year’s performances feature the world’s best dancers from New York City Ballet and Paris Opera Ballet under the brilliant artistic direction of Benjamin Millepied. In addition to live music for two of the pieces in the program, this year’s program includes an exciting world premier by Justin Peck of the New York City Ballet. The festival this week has offered a sparkling array of free community events including two dance-related book author/illustrator talks, Frederick Wiseman’s film La Danse, Children’s Workshop, Lecture Demonstration and two youth master dance classes. -
William Bing, Director FALL CONCERT November 16, 2012 8
Caltech offers excellent opportunities for the study and performance of music, theater and the visual arts. The Performing and Visual Arts Faculty are committed to quality in performance and education, and share a dedication to serve the student who wishes to enrich and broaden his or her college experience. Students can receive academic credit for their participation. William Bing, Director Performing and Visual Arts plays a vital role in realizing the Institute’s mission of “… educating outstanding students to become creative members of society.” FALL CONCERT For more information about Performing and Visual Arts at Caltech, November 16, 2012 please call us at 626-395-3295 or visit us at www.music-theater-art.caltech.edu 8:00 pm CALENDAR Caltech Glee Club Ramo Auditorium Saturday, November 17 - 8:00 pm - Ramo Auditorium Sunday, November 18 - 3:30 pm - Ramo Auditorium Theater Arts Caltech presents “Mate, the Untouchable Bobby Fischer Story” The Armory Center for the Arts - 145 North Raymond Ave, Pasadena Please call 626 395-3295 to purchase tickets or visit tacit.caltech.edu featuring the music of Saturday, November 17 - 7:30 pm - The Armory Sundays, November 18 - 5:00 pm - The Armory THE BEATLES Friday, November 30 - 7:30 pm - The Armory Saturday, December 1 - 7:30 pm - The Armory in a special arrangement Sunday, December 2 - 2:00 pm - The Armory Caltech-Occidental Symphony Orchestra originally commissioned by Cirque du Soleil Saturday, December 1 - 7:30 pm - Thorne Hall, Occidental Sunday, December 2 - 3:30 pm - Ramo Auditorium Caltech -
The Balanchine Trust: Dancing Through the Steps of Two-Part Licensing
Volume 6 Issue 2 Article 2 1999 The Balanchine Trust: Dancing through the Steps of Two-Part Licensing Cheryl Swack Follow this and additional works at: https://digitalcommons.law.villanova.edu/mslj Part of the Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Cheryl Swack, The Balanchine Trust: Dancing through the Steps of Two-Part Licensing, 6 Jeffrey S. Moorad Sports L.J. 265 (1999). Available at: https://digitalcommons.law.villanova.edu/mslj/vol6/iss2/2 This Article is brought to you for free and open access by Villanova University Charles Widger School of Law Digital Repository. It has been accepted for inclusion in Jeffrey S. Moorad Sports Law Journal by an authorized editor of Villanova University Charles Widger School of Law Digital Repository. Swack: The Balanchine Trust: Dancing through the Steps of Two-Part Licen THE BALANCHINE TRUST: DANCING THROUGH THE STEPS OF TWO-PART LICENSING CHERYL SWACK* I. INTRODUCTION A. George Balanchine George Balanchine,1 "one of the century's certifiable ge- * Member of the Florida Bar; J.D., University of Miami School of Law; B. A., Sarah Lawrence College. This article is dedicated to the memory of my mother, Allegra Swack. 1. Born in 1904 in St. Petersburg, Russia of Georgian parents, Georgi Melto- novich Balanchivadze entered the Imperial Theater School at the Maryinsky Thea- tre in 1914. See ROBERT TRAcy & SHARON DELONG, BALANci-NE's BALLERINAS: CONVERSATIONS WITH THE MUSES 14 (Linden Press 1983) [hereinafter TRAcY & DELONG]. His dance training took place during the war years of the Russian Revolution.