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Relationship Marketing Elements in Radio Station Websites
Graduate Theses, Dissertations, and Problem Reports 2003 Relationship marketing elements in radio station websites Mark L. Atkinson West Virginia University Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Atkinson, Mark L., "Relationship marketing elements in radio station websites" (2003). Graduate Theses, Dissertations, and Problem Reports. 1366. https://researchrepository.wvu.edu/etd/1366 This Thesis is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Relationship Marketing Elements in Radio Station Websites Mark L. Atkinson Thesis submitted to the Perley Isaac Reed School of Journalism at West Virginia University in partial fulfillment of the requirements for the degree of Master of Science in Journalism Archie Sader, M.B.A., Chair Denny Godfrey Terry Wimmer, Ph.D. Pamela Yagle, M.S.J. Perley Isaac Reed School of Journalism Morgantown, WV 2003 Keywords: Relationship Marketing, Radio Stations, Websites, Webpages ABSTRACT Relationship Marketing Elements in Radio Station Websites Mark Atkinson The purpose of this study is to determine whether or not radio station website designers effectively use relationship marketing to achieve the goals of the stations and their websites. -
1 Evolving Authorship, Developing Contexts: 'Life Lessons'
Notes 1 Evolving Authorship, Developing Contexts: ‘Life Lessons’ 1. This trajectory finds its seminal outlining in Caughie (1981a), being variously replicated in, for example, Lapsley and Westlake (1988: 105–28), Stoddart (1995), Crofts (1998), Gerstner (2003), Staiger (2003) and Wexman (2003). 2. Compare the oft-quoted words of Sarris: ‘The art of the cinema … is not so much what as how …. Auteur criticism is a reaction against sociological criticism that enthroned the what against the how …. The whole point of a meaningful style is that it unifies the what and the how into a personal state- ment’ (1968: 36). 3. For a fuller discussion of the conception of film authorship here described, see Grist (2000: 1–9). 4. While for this book New Hollywood Cinema properly refers only to this phase of filmmaking, the term has been used by some to designate ‘either something diametrically opposed to’ such filmmaking, ‘or some- thing inclusive of but much larger than it’ (Smith, M. 1998: 11). For the most influential alternative position regarding what he calls ‘the New Hollywood’, see Schatz (1993). For further discussion of the debates sur- rounding New Hollywood Cinema, see Kramer (1998), King (2002), Neale (2006) and King (2007). 5. ‘Star image’ is a concept coined by Richard Dyer in relation to film stars, but it can be extended to other filmmaking personnel. To wit: ‘A star image is made out of media texts that can be grouped together as promotion, publicity, films and commentaries/criticism’ (1979: 68). 6. See, for example, Grant (2000), or the conception of ‘post-auteurism’ out- lined and critically demonstrated in Verhoeven (2009). -
Cinematic Contextual History of High Noon (1952, Dire Fred Zinnemann) J. M. CAPARROS-LERA SERGIO ALEGRE
Cinematic Contextual History of High Noon (1952, dire Fred Zinnemann) J. M. CAPARROS-LERA SERGIO ALEGRE Cinema must be seen as one of the ways of ideologies of our Century because it shows very well the mentality of men and women who make films. As well as painting, literature and arts, it helps us to understand our time. (Martin A. JACKSON) 0. T.: High Noon. Production: Stanley Kramer Productions, Inc./United Artists (USA,1952). Producers: Stanley Kramer & Carl Foreman. Director: Fred Zinnemann. Screenplay: Carl Foreman, from the story The Tin Star, by John W. Cunningham. Photography: Floyd Crosby. Music: Dimitri Tiomkin. Song: Do Not Forsake Me Oh My Darlin', by Dimitri Tiomkin and Ned Washington; singer: Tex Ritter. Art Director: Rudolph Sternad. Editor: Elmo Williams. Cast: Gary Cooper: (Will Kane), Thomas Mitchell (Jonas Henderson), Lloyd Bridges (Harvey Pell), Katy Jurado (Helen Ramirez), Grace Kelly (Amy Kane), Otto Kruge: (Percy Metrick), Lon Chaney, Jr. (Martin Howe), Henry Morgan (Sam Fuller), Ian MacDonald (Frank Miller), Eve McVeagh (Milfred Fuller) Harry Shannon (Cooper), Lee Van Cleef (Jack Colby), Bob Wilke (James Pierce), Sheb Wooley (Ben Miller), Tom London (Sam), Larry Blake (Gillis), Jeanne Blackford (Mrs: Henderson), Guy Beach (Fred), Virginia Christine (Mrs. Simpson), Jack Elam (Charlie), Virginia Farmer (Mrs. Fletcher), Morgan Farley (Priest),Paul Dubov (Scott), Harry Harvey (Coy), Tin Graham (Sawyer), Nolan Leary (Lewis), Tom Greenway (Ezra), Dick Elliot (Kibbee), John Doucete (Trumbull). B/W -85 min. Video distributor: Universal. The post-war American atmosphere and the never well-seen social problem cinema -especially thriller film noir- are the major reasons to understand why during the Forties Hollywood was purged by the self- called the most liberal and democratic government of the world.* Truman's executive order was published in May 12, 1947. -
Scarica Il Programma in Formato
SOTTO L’ALTO PATRONATO DEL PRESIDENTE DELLA REPUBBLICA ITALIANA PRESIDENTE ETTORE SCOLA DIRETTORE FELICE LAUDADIO IL PROGRAMMA Questo festival è davvero un’utopia. Edgar Reitz Illustrazione di Ettore Scola Iniziativa cofinanziata da Prodotta da Tributo a Ettore Scola Partnership Con la collaborazione determinante di Sponsor tecnici Main media partner Quartier generale durante il Bif&st Spazio Murat Media partner Piazza del Ferrarese 70122 Bari, Italy [email protected] www.bifest.it IL PRO GRA MMA Questo festival è davvero un’utopia. Edgar Reitz sotto l’Alto Patronato una iniziativa della Regione Puglia del Presidente Assessorato Industria Turistica e Culturale della Repubblica Italiana finanziata dal P.O.R. Puglia 2014-2020, Asse VI, Obiettivo tematico 6.7. COMITATO D’ONORE SOGGETTO ATTUATORE Michele Emiliano Fondazione Apulia Film Commission Presidente Regione Puglia Loredana Capone Consiglio di amministrazione Assessore Industria Turistica e Culturale Maurizio Sciarra Regione Puglia presidente Antonio Decaro Chiara Coppola Sindaco di Bari Simonetta Dellomonaco Antonio Felice Uricchio Fabio Prencipe Rettore Università degli Studi di Bari Giandomenico Vaccari Gianrico Carofiglio consiglieri Presidente Fondazione Teatro Petruzzelli Aurora De Falco Massimo Biscardi Sebastiano Di Bari Sovrintendente Fondazione Teatro Petruzzelli Giuseppe Tanisi Paolo Verri collegio revisori Commissario Agenzia Puglia Promozione Cristina Piscitelli - RUP Bif&st MAIN MEDIA PARTNER Andreina De Nicolò ufficio progettazione e gestione progetti Daniele -
Doherty, Thomas, Cold War, Cool Medium: Television, Mccarthyism
doherty_FM 8/21/03 3:20 PM Page i COLD WAR, COOL MEDIUM TELEVISION, McCARTHYISM, AND AMERICAN CULTURE doherty_FM 8/21/03 3:20 PM Page ii Film and Culture A series of Columbia University Press Edited by John Belton What Made Pistachio Nuts? Early Sound Comedy and the Vaudeville Aesthetic Henry Jenkins Showstoppers: Busby Berkeley and the Tradition of Spectacle Martin Rubin Projections of War: Hollywood, American Culture, and World War II Thomas Doherty Laughing Screaming: Modern Hollywood Horror and Comedy William Paul Laughing Hysterically: American Screen Comedy of the 1950s Ed Sikov Primitive Passions: Visuality, Sexuality, Ethnography, and Contemporary Chinese Cinema Rey Chow The Cinema of Max Ophuls: Magisterial Vision and the Figure of Woman Susan M. White Black Women as Cultural Readers Jacqueline Bobo Picturing Japaneseness: Monumental Style, National Identity, Japanese Film Darrell William Davis Attack of the Leading Ladies: Gender, Sexuality, and Spectatorship in Classic Horror Cinema Rhona J. Berenstein This Mad Masquerade: Stardom and Masculinity in the Jazz Age Gaylyn Studlar Sexual Politics and Narrative Film: Hollywood and Beyond Robin Wood The Sounds of Commerce: Marketing Popular Film Music Jeff Smith Orson Welles, Shakespeare, and Popular Culture Michael Anderegg Pre-Code Hollywood: Sex, Immorality, and Insurrection in American Cinema, ‒ Thomas Doherty Sound Technology and the American Cinema: Perception, Representation, Modernity James Lastra Melodrama and Modernity: Early Sensational Cinema and Its Contexts Ben Singer -
And Marxism in Pre-Blacklist Hollywood
Introduction Contextualizing the tension between the ‘American Dream’ and Marxism in pre-blacklist Hollywood The relationship between labour and capital in Hollywood was never noted for its harmony. Nevertheless, the class conflict within the American film industry usually resulted in workable compromises, albeit within a political framework limited by the prohibitive moral strictures of the Production Code of 1935 and the Motion Pictures Association of America (MPAA). Even the establishment of the House Committee on Un-American Activities (HUAC) in 1938, known as the Dies Committee after its first chairman Martin Dies Jr. (D-TX), did not significantly alter the uneasy co-existence between the Hollywood Left talent and old studio moguls. That is, not before the post-war reincarnation of HUAC, which left no room for political compromise: from 1947, the Committee went after Hollywood in earnest. Sometimes referred to as the Second Red Scare – the first followed the Russian Revolution – the political repression that followed in its wake is more commonly associated with Joseph McCarthy, a junior congressman from Wisconsin, who spearheaded the government attack on any political and cultural manifestation of un-Americanism (more precisely, anti-capitalism). This unconstitutional attack on freedom of expression at the hands of the Congress marked a watershed not only in the relationship between labour and capital in Hollywood, but in the evolution of the dominant political aesthetics of American cinema. Thirty years ago, film 1 historian Richard -
ATRI Iiii EE FOB Im( EMIU
FALL YOU I A f f l k A newV season for l l hhealth ( and style. NevadaN Ih four-Ot wliwin;' I llll II I mil Y.A4I I ___________ ^ _____________________ SPORTS.!rs.B l __ Good Morning - r r \ ^ MONDAY Low 42 October 15,2007 Sunny and mikl. 75 cents O0t8QcB4 im ( WS ll ------- “ Ma^Vakyxom rr-n IBLIC LAND MMANAGEMENTT ATRIEE FOB^ d a l eEMIUM C(k)ngFesss weighs\ ildemes»sbiU the bill and accuse Easternm posal m ay affect politicians of meddling Infn Western affairs. n e a rirly l; 1 0 m i l l i o n Sen. Max Baucus, D-Monl..I.. has opposed die bill in thele 5S i n I d a h o pa;past. Barrett Kaiser, Baucus's' spokesman,sp« said the senator3r rerremains opposed to peoplele BrMattCttClrtsteBsea fromfro die East Coast dictating Tlme»Wet-Wewi writer___________ publicpu land management in McMontana. controversialcoi bill that Rep.1 Denny Rehberg, R-I- I designate millions of Mont.,Mc also opposes NREPA.\. I Idaho> 1acres as wilderness SweepingSw measures oul ofJf areas will be discussed WashingtonWa are not die best5t Thursdaiday by a congressional waywa; to manage public lands,S, subcomiimmiltee. helie said In an e-mail. Nearlyirly 10 million acrcs In Idaho1< politidans have beenn centralal and nordiern Idalio, relativelyreli quiet on the proposs- and aboiboul 13 million acres in al,al, perhaps bccause severalli I. odier UWestern stales, could haveha> iniroduced wilderness•S becomene protected wildemess planspla of dieir own. Rep. Mike;e A areas uunder the Nordiern SimpsonSin and Sen. -
The Roots of Post-Racial Neoliberalism in Blacklist Era Hollywood
The Roots of Post-Racial Neoliberalism in Blacklist Era Hollywood A Dissertation SUBMITTED TO THE FACULTY OF UNIVERSITY OF MINNESOTA BY Andrew Paul IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Lary May, Tracey Deutsch March 2014 © Andrew Paul 2014 Acknowledgements Writing this dissertation would not have been possible without the support of countless others. First, I acknowledge the generosity of my dissertation committee. My advisors, Lary May and Tracey Deutsch offered enthusiastic guidance, criticism, and support. Lary’s own contributions to the historiography of the blacklist were second in value only to his personal attention to my work, and his questions yielded important research leads. Tracey helped me to think across sub-fields and pushed me to improve my writing. Both of them encouraged me to take intellectual risks and to make bold claims and interventions. Elaine Tyler May, Riv-Ellen Prell, and Malinda Lindquist all shaped my development as a scholar as well. With thoughtful and critical attention to my writing, they challenged me to clarify my ideas and helped me to see how my work was entering different conversations, and how it might stand to enter others. It was a privilege to be able to discuss my ideas with this committee. I was awarded generous financial sums from the University of Minnesota’s Harold Leonard Memorial Film Studies Fellowship and the University of Minnesota Foundation, which allowed me travel to archives in California, Wisconsin, and New York. In these locales, at the Charles Young Research Library at the University of California Los Angeles, the Margaret Herrick Library and the Paley Center for Media, both located in Beverly Hills, the Wisconsin State Historical Society in Madison, and at the Center for Jewish History in New York City, numerous archivists assisted me in my work., and for this I owe them my gratitude. -
December 2018
The Magazine for TV and FM DXers December 2018 Photo by Nam Nguyen (Wikipedia) AUSTRALIA CHECKS IN WITH SOME TROPO REMEMBER, THIS IS THE WORLDWIDE TV-FM DX ASSOCIATION SEND THOSE INTERNATIONAL REPORTS IN! THIS IS RYAN'S LAST VUD AS EDITOR (BUT I'LL STILL BE AROUND) The Official Publication of the Worldwide TV-FM DX Association INSIDE THIS VUD CLICK TO NAVIGATE 02 The Mailbox 21 FM News 33 Photo News 03 TV News 30 Southern FM DX 36 Brisbane Tropo 17 FM Facilities DX REPORTS/PICS FROM: Ryan Leigh Donaldson (QLD), Chris Dunne (FL), Fred Nordquist (SC), Doug Speheger (OK) THE WORLDWIDE TV-FM DX ASSOCIATION Serving the UHF-VHF Enthusiast THE VHF-UHF DIGEST IS THE OFFICIAL PUBLICATION OF THE WORLDWIDE TV-FM DX ASSOCIATION DEDICATED TO THE OBSERVATION AND STUDY OF THE PROPAGATION OF LONG DISTANCE TELEVISION AND FM BROADCASTING SIGNALS AT VHF AND UHF. WTFDA IS GOVERNED BY A BOARD OF DIRECTORS: DOUG SMITH, KEITH McGINNIS, JIM THOMAS AND MIKE BUGAJ. Editor and publisher: Ryan Grabow Treasurer: Keith McGinnis wtfda.org/info Webmaster: Tim McVey Forum Site Administrator: Chris Cervantez Editorial Staff: Jeff Kruszka, Keith McGinnis, Fred Nordquist, Nick Langan, Doug Smith, John Zondlo and Mike Bugaj DECEMBER 2018 DUES RECEIVED think that day was around 15 years ago. George DATE NAME S/P EXP resides in Duxbury, MA. It’s nice to have you back 10/31/2018 Doug Speheger OK 10-19 again! Imagine how the Boston FM dial has 11/5/2018 Scott Levitt PA 10-19 changed in that time. -
The California Tech
What's playing on the Frosh Camp exposed. radio? see page 4 see page 10 THE CALIFORNIA TECH VOLUME XCVIII, NUMBER 2 PASADENA, CALIFORNIA FRIDAY, 27 SEPTEMBER 1996 Third symposium on media & science goes national via satellite BY PUBLIC RELATIONS and technology anchor for CNN. ming, and isa weekend news anchor. He will allow audience members to address Panelists include Jacqueline Barton, has been honored for writing documen the panelists. This year, when Caltech brings me professor of chemistry at Caltech; taries on the heavy use of pesticides at Mullin Consulting, Inc., led by chair dia professionals to talk with Caltech re Glennda Chui, science reporter for the Costa Rican banana plantations (Sweet man and CEO Peter Mullin, a Caltech searchers and the public, they'll 'discuss San Jose Mercury News; Tony Dill, pro Fruit: Bitter Harvest), on technology con trustee, is a consulting firm specializing "Science & Journalism: A Marriage of ducer for NBC's The Today Show; Rob version in the U.S. andRussia (Swords in non-qualified executive benefit pro Opposites." And for the first time, col-. ert Ferrante, executive producer ofNPR's to Plowshares: The Price of Peace), and grams for major corporations, many leges and universities around thecoun Morning Edition; Joel Greenberg, sci on the information superhighway (TV within the Fortune 500. It has offices in try may participate by receiving a live ence editor for the Los Angeles Times; .2000) -coproducing the latter two-among Los Angeles, Minneapolis, New York, broadcast with two-way communication and Daniel Kevles, Koepfli Professor of others. Now in its third year, the Media and San Francisco. -
Morning Mania Contest, Clubs, Am Fm Programs Gorly's Cafe & Russian Brewery
Guide MORNING MANIA CONTEST, CLUBS, AM FM PROGRAMS GORLY'S CAFE & RUSSIAN BREWERY DOWNTOWN 536 EAST 8TH STREET [213] 627 -4060 HOLLYWOOD: 1716 NORTH CAHUENGA [213] 463 -4060 OPEN 24 HOURS - LIVE MUSIC CONTENTS RADIO GUIDE Published by Radio Waves Publications Vol.1 No. 10 April 21 -May 11 1989 Local Listings Features For April 21 -May 11 11 Mon -Fri. Daily Dependables 28 Weekend Dependables AO DEPARTMENTS LETTERS TO THE EDITOR 4 CLUB LIFE 4 L.A. RADIO AT A GLANCE 6 RADIO BUZZ 8 CROSS -A -IRON 14 MORNING MANIA BALLOT 15 WAR OF THE WAVES 26 SEXIEST VOICE WINNERS! 38 HOT AND FRESH TRACKS 48 FRAZE AT THE FLICKS 49 RADIO GUIDE Staff in repose: L -R LAST WORDS: TRAVELS WITH DAD 50 (from bottom) Tommi Lewis, Diane Moca, Phil Marino, Linda Valentine and Jodl Fuchs Cover: KQLZ'S (Michael) Scott Shannon by Mark Engbrecht Morning Mania Ballot -p. 15 And The Winners Are... -p.38 XTC Moves Up In Hot Tracks -p. 48 PUBLISHER ADVERTISING SALES Philip J. Marino Lourl Brogdon, Patricia Diggs EDITORIAL DIRECTOR CONTRIBUTING WRITERS Tommi Lewis Ruth Drizen, Tracey Goldberg, Bob King, Gary Moskowi z, Craig Rosen, Mark Rowland, Ilene Segalove, Jeff Silberman ART DIRECTOR Paul Bob CONTRIBUTING PHOTOGRAPHERS Mark Engbrecht, ASSISTANT EDITOR Michael Quarterman, Diane Moca Rubble 'RF' Taylor EDITORIAL ASSISTANT BUSINESS MANAGER Jodi Fuchs Jeffrey Lewis; Anna Tenaglia, Assistant RADIO GUIDE Magazine Is published by RADIO WAVES PUBLICATIONS, Inc., 3307 -A Plco Blvd., Santa Monica, CA. 90405. (213) 828 -2268 FAX (213) 453 -0865 Subscription price; $16 for one year. For display advertising, call (213) 828 -2268 Submissions are welcomed. -
Dates and Lengths 5/4/2011 MCV Aircheck Database Approximate
Dates and lengths 5/4/2011 MCV Aircheck database approximate 15B WJSS 0/00/79 Freddy Stevens Fake 15B WTIC-FM 00/00/78 Bill Lenkey Hot Hits 15B WTIC-FM 00/00/79 Bill Lenkey Hot Hits 15B WTIC-FM 2/1/1979 Bobby McGee few-poor Hot Hits 15B WTIC-FM 12/00/80 Doc Holliday 15B WTIC-FM 12/00/80 Mike West 15B WSFS 2/00/79 Freddy Stevens Fake 15B WSFS 4/14/1979 Freddy Stevens Fake 1 WTIC-FM 4/1/1980 Bill Lenkey few 1 WTIC-FM 4/80-6/80 Mike West 1:00 Top 10 (2) 1&4 WTIC-FM 10/80-11/80 Jack Mitchell various 1 WDRC-FM 9/0/80 Dave Gary various 1&4 WTIC-FM 6/1/1980 Jack Lawrence various 1 WKCI 10/1/1980 Peter Bush-Willie B few 1 WTIC-FM 10/1/1980 Tom Kelly few 1 WKBW 10/1/1980 Mark Thompson one Buffalo 1 WTIC 10/1/1980 Funnies/Frank Pierce few 1 WTIC-FM 10/1/1980 Johnny Michaels few 1 WFBL 4/80-11/80 Don Rossi various Hot Hits 1 WFBL 11/1/1980 Bill Catcher various Hot Hits 1 WHCN 5/1/1980 IDs few 2 WTIC-FM 2/0/79 Bill Lenkey various cuts Hot Hits 2 WTIC-FM 2/0/79 Bobby McGee short Hot Hits 2 WTIC-FM 3/0/79 Johnny Michaels short Hot Hits 2 WTIC-FM 3/0/80 Mike West 1:00 Top 10 (3) 2 WTIC-FM 3/0/80 Jack Mitchell 1:00 Top10 2 WFBL 4/0/80 Todd Parker various Hot Hits 2 WFBL 4/0/80 Michael Carr various Hot Hits 2 WFBL 4/0/80 Don Rossi various Hot Hits 2 WTIC-FM 5/0/79 Bill Lenkey Hot Hits 2 WTIC-FM 5/0/79 Bobby McGee short Hot Hits 2 WTIC-FM 6/0/79 Bill Lenkey various Hot Hits 2 WFBL 8/00/80 Bob Reynolds 1:00 Hot Hits 2 WFBL 9/0/80 Bill Catcher various Hot Hits 3 WBEN-FM 7/80or8/80 Automation 2:00 Jingles 3 WFBL 7/80or8/80 Michael Carr 1:00 Hot HIts 3 WFBL