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DAN HILAND Re-Recording Mixer
DAN HILAND Re-Recording Mixer RE-RECORDING MIXER | SELECT TELEVISION CREDITS & AWARDS CATCH-22 David Michod Paramount Television INSATIABLE Lauren Gussis CBS Television Studios BATWOMAN Caroline Dries WBTV Gary Dauberman/Mark SWAMP THING Verheiden DC Universe THE RED LINE Cairlin Parrish WBTV ALL AMERICAN April Blair WBTV LOVE IS Mara Brock Akil OWN SABRINA THE TEENAGE WITCH Jonathan Schmock Viacom Productions TITANS Greg Berlanti DC Entertainment THE LEFTOVERS Damon Lindelof HBO THE FLASH Greg Berlanti WBTV EMPIRE Lee Daniels Imagine Television CINNAMON GIRL (TV Movie) Gavin O'Connor Fox 21 WITCHES OF EAST END Maggie Friedman Lifetime ARROW Greg Berlanti WBTV RAY DONOVAN (Pilot) Ann Biderman Showtime Networks MOB CITY Frank Darabont TNT Originals POLITICAL ANIMALS Greg Berlanti WBTV HOUSE OF LIES Matthew Carnahan Showtime Networks HART OF DIXIE Leila Gerstein WBTV THE WALKING DEAD Frank Darabont (2010) (2012/2014/2015/2016) AMC DARK BLUE Danny Cannon/Doug Jung TNT Originals IN PLAIN SIGHT David Maples USA Network CHASE Jennifer Johnson WBTV NO ORDINARY FAMILY (Pilot) Greg Berlanti ABC Studios THE WHOLE TRUTH Tom Donaghy WBTV J.J. Abrams FRINGE (Pilot) (2009) WBTV Warner Bros. Post Production Creative Services | 4000 Warner Blvd. | Burbank, CA 91522 | 818.954.7825 Award Key: W for Win | N for Nominated OSCAR | BAFTA | EMMY | MPSE | CAS LIMELIGHT (Pilot) David Semel, WBTV HUMAN TARGET Jonathan E. Steinberg WBTV EASTWICK Maggie Friedman WBTV V (Pilot) Kenneth Johnson WBTV TERMINATOR: THE SARAH CONNER Josh Friedman CHRONICLES WBTV CAPTAIN -
Pg TV Guide 2.Indd
SUNDAY EVENING A-DirecTV;B-Dish;C-Brandenburg MAY 6, 2012 A B C 6:00 6:30 7:00 7:30 8:00 8:30 9:00 9:30 10:00 10:30 11:00 TV Guide Listings 3/WAVE 3 3 3Dateline NBC (N) Harry’s Law (N) The Celebrity Apprentice (N) Å WAVE 3 News Extra (N) 7/WTVW News Home Offi ce Theory Theory News House (S) Å McCarv 9/WNIN Jubilee (S) Å Finding-Roots Masterpiece Mystery! (S) Great Performances at the Met Å 11/WHAS 11 11 11 Funny Videos Upon a Time Desp.-Wives (:01) GCB Å News Criminal Minds (S) May 2 - May 8 23/WKZT 4Manor Summer Time/By Served? Masterpiece Mystery! (S) Land Globe Trekker (S) Religion 32/WLKY 32 32 560 Minutes Å The Amazing Race (S) Å NYC 22 (N) Å News News Access 34/WBKI 34 34 17 Fturama Fturama ››› “Chicago” (2002, Musical) News Insider (:05) TMZ (N) (S) Electric SATURDAY MORNING A-DirecTV;B-Dish;C-Brandenburg MAY 5, 2012 41/WDRB 41 41 12 Simpson Cleve Simpson Burgers Family Amer. News Sports Theory Two 30 Rock A B C 6:00 6:30 7:00 7:30 8:00 8:30 9:00 9:30 10:00 10:30 11:00 A&E 265 118 79 Storage Storage Storage Storage Storage Storage Duck D. Duck D. Duck D. Duck D. Storage Frozen Planet (S) River Monsters Swamp Wars (N) River Monsters (S) Swamp Wars (S) Monster 3/WAVE 3 3 3Today (N) (S) Å Wave 3’s Derby Day ANPLAN 282 184 78 CNN 202 200 24 CNN Newsroom CNN Presents Piers Morgan CNN Newsroom CNN Presents Piers 7/WTVW Paid Paid Garden Wild Busi Home. -
Download the Word Farm 2016 Program
Word Farm 2016 Students Aubrie Amstutz Phalguni Laishram Joe Arciniega Gustavo Melo December Brown Claudia Niles Charlotte Burns Mia Roncati Derek Buss Melvin Singh Isabelle Carasso Corine Toren Christopher Connor Mel Weisberger Brendan Dassey Sydney Wiklund Phoebe DeLeon Dwight Yao Phi Do Julia Dumas Sylvia Garcia Gustavo A. Gonzalez Christine Hwynh Jae Hwan Kim Class Schedule Friday, January 29 9:00 Coffee & Snacks Sign-In 10:00-12:00 Session 1 Bryce & Jackie Zabel Tom Lazarus 12:00-1:00 Lunch 1:00-3:00 Session 2 David Gerrold Mitchell Kreigman Saturday, January 24 9:00 Coffee & Snacks 10:00-12:00 Session 3 Cheri Steinkellner J Kahn 12:00-1:00 Lunch 1:00-3:00 Session 4 Matt Allen & Lisa Mathis Dean Pitchford 3:00-3:30 Snacks 3:30-5:30 Session 5 Anne Cofell Saunders Toni Graphia 6:30 Dinner Annenberg Conference Room - 4315 SSMS Sunday, January 25 9:00 Coffee & Snacks 10:00-12:00 Session 6 Glenn Leopold Kevin McKiernan 12:00-1:00 Lunch 1:00-3:00 Session 7 Amy Pocha Allison Anders 3:00-3:30 Snacks 3:30-5:00 Session 8 Omar Najam & Mia Resella Word Farm Bios Allison Anders Allison Anders is an award-winning film and television writer and director. She attended UCLA film school and in 1984 had her first professional break working for her film mentor Wim Wenders on his movie Paris, Texas (1984). After graduation, Anders had her first film debut,Border Radio (1987), which she co-wrote and co-directed with Kurt Voss. -
The Musical Number and the Sitcom
ECHO: a music-centered journal www.echo.ucla.edu Volume 5 Issue 1 (Spring 2003) It May Look Like a Living Room…: The Musical Number and the Sitcom By Robin Stilwell Georgetown University 1. They are images firmly established in the common television consciousness of most Americans: Lucy and Ethel stuffing chocolates in their mouths and clothing as they fall hopelessly behind at a confectionary conveyor belt, a sunburned Lucy trying to model a tweed suit, Lucy getting soused on Vitameatavegemin on live television—classic slapstick moments. But what was I Love Lucy about? It was about Lucy trying to “get in the show,” meaning her husband’s nightclub act in the first instance, and, in a pinch, anything else even remotely resembling show business. In The Dick Van Dyke Show, Rob Petrie is also in show business, and though his wife, Laura, shows no real desire to “get in the show,” Mary Tyler Moore is given ample opportunity to display her not-insignificant talent for singing and dancing—as are the other cast members—usually in the Petries’ living room. The idealized family home is transformed into, or rather revealed to be, a space of display and performance. 2. These shows, two of the most enduring situation comedies (“sitcoms”) in American television history, feature musical numbers in many episodes. The musical number in television situation comedy is a perhaps surprisingly prevalent phenomenon. In her introduction to genre studies, Jane Feuer uses the example of Indians in Westerns as the sort of surface element that might belong to a genre, even though not every example of the genre might exhibit that element: not every Western has Indians, but Indians are still paradigmatic of the genre (Feuer, “Genre Study” 139). -
TRUE/FALSE FILM FEST 2019 FEATURE FILMS Amazing Grace
TRUE/FALSE FILM FEST 2019 FEATURE FILMS Amazing Grace | 2019; 87 min. At peak stardom, Aretha Franklin goes back to her family’s gospel roots, live-recording at a Baptist church while backed by a famed community choir. American Factory | Dir. Julia Reichert & Stephen Bognar; 2019; 115 min. Dizzying, hilarious, and devastating, American Factory is a landmark story of globalization. APOLLO 11 | Dir. Todd Douglas Miller; 2019; 93 min. Our miraculous first trip to the moon is conjured through 70mm footage finally uncovered from the NASA vaults. Presented by Veterans United Home Loans Caballerango | Dir. Juan Pablo González; 2018; 60 min. A haunted look into the soul of a rural Mexican town in the wake of the death of a horse wrangler. Celebration | Dir. Olivier Meyrou; 2018; 73 min. A disquieting peek behind the wardrobe of Yves Saint Laurent, the most distinguished couturier of the last century. Supported by the Cultural Service at the Consulate General of France in Chicago Chez Jolie Coiffure | Dir. Rosine Mbakam; 2018; 70 min. Conversations intertwine with hair-braiding at a Brussels hair salon, which serves as a safe haven for African refugees. Chinese Portrait | Dir. WANG Xiaoshuai; 2018; 79 min. Over a decade, renowned director WANG Xiaoshuai records his country in upheaval. Cold Case Hammarskjöld | Dir. Mads Brügger; 2019; 123 min. This engrossing gonzo film starts as a hell-bent investigation of the death of the U.N. secretary-general in 1961 then takes on long-lingering mysteries on the African continent. The Commons | Dir. Suki Hawley & Michael Galinsky; 2019; 71 min. An intrepid film crew takes us inside an intense battle over a Confederate monument on UNC-Chapel Hill’s public commons. -
Behind the Scenes: Monk's Final Case
lot, the gushing well-wishers and co- workers moving towards him, the gauntlet of handshakes and bear hugs, people drinking champagne November 23, 2009 straight out of bottles, eating red velvet cake with their bare hands, crying, embracing; a seething mass Behind The of humanity, slowly closing in. But Tony Shalhoub isn’t Scenes: Adrian Monk. Not any more. After eight years of Monk’s obsessive-compulsive hand-wiping, pole-touching and mystery-solving “Monk.” the often under-appreciated Final Case show that re-vitalized USA Network, made Shalhoub into an Emmy- By Joe Rhodes winning star and spawned a wave of quirkily-observant tv detective imitators, has finally come to an end. The final episode, because this is “Monk,” will put everything in its place. Before it ends – with a Randy Newman song written especially for the finale – loyal viewers will have the answers they’ve been waiting for: Who killed Monk’s wife, Trudy, the crime that sent him into a catatonic state and has hung over the series from the very first episode? Will he be reinstated as a San Francisco detective? Will he ever unbutton that top shirt button? Is that Captain Mr. Monk would not have enjoyed Stottlemeyer’s real hair? (Ok, not the this; the way things ended after the last one). 25th and final take of the final shot of the final season of the show that There will, of course, be bears his name. Adrian Monk, complications along the way, not the germophobic, claustrophobic, least of which is that Monk will be emotion-phobic, would have been told he has only three days to live. -
The Attorney General's Ninth Annual Report to Congress Pursuant to The
THE ATTORNEY GENERAL'S NINTH ANNUAL REPORT TO CONGRESS PURSUANT TO THE EMMETT TILL UNSOLVED CIVIL RIGHTS CRIME ACT OF 2007 AND THIRD ANNUALREPORT TO CONGRESS PURSUANT TO THE EMMETT TILL UNSOLVEDCIVIL RIGHTS CRIMES REAUTHORIZATION ACT OF 2016 March 1, 2021 INTRODUCTION This is the ninth annual Report (Report) submitted to Congress pursuant to the Emmett Till Unsolved Civil Rights Crime Act of2007 (Till Act or Act), 1 as well as the third Report submitted pursuant to the Emmett Till Unsolved Civil Rights Crimes Reauthorization Act of 2016 (Reauthorization Act). 2 This Report includes information about the Department of Justice's (Department) activities in the time period since the eighth Till Act Report, and second Reauthorization Report, which was dated June 2019. Section I of this Report summarizes the historical efforts of the Department to prosecute cases involving racial violence and describes the genesis of its Cold Case Int~~ative. It also provides an overview ofthe factual and legal challenges that federal prosecutors face in their "efforts to secure justice in unsolved Civil Rights-era homicides. Section II ofthe Report presents the progress made since the last Report. It includes a chart ofthe progress made on cases reported under the initial Till Act and under the Reauthorization Act. Section III of the Report provides a brief overview of the cases the Department has closed or referred for preliminary investigation since its last Report. Case closing memoranda written by Department attorneys are available on the Department's website: https://www.justice.gov/crt/civil-rights-division-emmett till-act-cold-ca e-clo ing-memoranda. -
The Key Lessons Learnt from Producing the ABC Programme Talking
The key lessons learnt from producing the ABC programme Talkin g Heads a talk show/documentary hybrid in a fast turnaround environment Jack King HND: Business Studies (Aston Birmingham) This exegesis is submitted as the written component for the degree of Master of Arts (Research) Film and Television Production: Creative Industries Queensland University of Technology 2009 Supervisors: Associate Professor Geoff Portmann and Associate Professor Alan McKee Abstract The following exegesis will detail the key advantages and disadvantages of combining a traditional talk show genre with a linear documentary format using a small production team and a limited budget in a fast turnaround weekly environment. It will deal with the Australian Broadcasting Corporation series Talking Heads, broadcast weekly in the early evening schedule for the network at 18.30 with the presenter Peter Thompson. As Executive Producer for the programme at its inception I was responsible for setting it up for the ABC in Brisbane, a role that included selecting most of the team to work on the series and commissioning the music, titles and all other aspects required to bring the show to the screen. What emerged when producing this generic hybrid will be examined at length, including: The talk show/documentary hybrid format needs longer than 26’30” to be entirely successful. The type of presenter ideally suited to the talk show/documentary format requires someone who is genuinely interested in their guests and flexible enough to maintain the format against tangential odds. The use of illustrative footage shot in a documentary style narrative improves the talk show format. -
By Jennifer M. Fogel a Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy
A MODERN FAMILY: THE PERFORMANCE OF “FAMILY” AND FAMILIALISM IN CONTEMPORARY TELEVISION SERIES by Jennifer M. Fogel A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Communication) in The University of Michigan 2012 Doctoral Committee: Associate Professor Amanda D. Lotz, Chair Professor Susan J. Douglas Professor Regina Morantz-Sanchez Associate Professor Bambi L. Haggins, Arizona State University © Jennifer M. Fogel 2012 ACKNOWLEDGEMENTS I owe my deepest gratitude to the members of my dissertation committee – Dr. Susan J. Douglas, Dr. Bambi L. Haggins, and Dr. Regina Morantz-Sanchez, who each contributed their time, expertise, encouragement, and comments throughout this entire process. These women who have mentored and guided me for a number of years have my utmost respect for the work they continue to contribute to our field. I owe my deepest gratitude to my advisor Dr. Amanda D. Lotz, who patiently refused to accept anything but my best work, motivated me to be a better teacher and academic, praised my successes, and will forever remain a friend and mentor. Without her constructive criticism, brainstorming sessions, and matching appreciation for good television, I would have been lost to the wolves of academia. One does not make a journey like this alone, and it would be remiss of me not to express my humble thanks to my parents and sister, without whom seven long and lonely years would not have passed by so quickly. They were both my inspiration and staunchest supporters. Without their tireless encouragement, laughter, and nurturing this dissertation would not have been possible. -
By Roger Inman Greg Smith Television Production Handbook
Television Production Handbook By Roger Inman Greg Smith Television Production Handbook By Roger Inman Greg Smith ©1981-2006 Roger Inman & Greg Smith. All rights reserved. Television Production Manual ii Television Production Manual INTRODUCTION There are essentially two ways of doing television. Programs are shot either in a specially designed television studio using several cameras which are fed into a control room and assembled in "real time," or they are shot using a single camera on location and assembled later in an editing room or on a computer. Obviously, almost all non-professional video is shot using a single camera. That makes it what the pros call "electronic field production," or EFP. In electronic field production, the director is like a composer of music, creating and assembling images and impressions, fitting them together carefully, weighing the quality and importance of each as he goes. He works much as a film director would, in a linear fashion from one shot to the next, one scene to the next. He is dealing with only one picture and one situation at a time. Since the program will be edited later, he can shoot out of sequence, repeat shots, and record extra shots to be included later. Electronic field production allows for a richness of scene and artistic creativity born sometimes out of necessity and sometimes out of opportunities suggested by the location itself. Professionals spend most of their time planning, scripting, and organizing their productions. The amount of time spent actually recording the program is surprisingly short compared to the time spent preparing for it. -
Star Channels, May 20-26
MAY 20 - 26, 2018 staradvertiser.com LEGAL EAGLES Sandra’s (Britt Robertson) confi dence is shaken when she defends a scientist accused of spying for the Chinese government in the season fi nale of For the People. Elsewhere, Adams (Jasmin Savoy Brown) receives a compelling offer. Chief Judge Nicholas Byrne (Vondie Curtis-Hall) presides over the Southern District of New York Federal Court in this legal drama, which wraps up a successful freshman season. Airing Tuesday, May 22, on ABC. WE’RE LOOKING FOR PEOPLE WHO HAVE SOMETHING TO SAY. Are you passionate about an issue? An event? A cause? ¶ũe^eh\Zga^eirhn[^a^Zk][r^fihp^kbg`rhnpbmama^mkZbgbg`%^jnbif^gm olelo.org Zg]Zbkmbf^rhng^^]mh`^mlmZkm^]'Begin now at olelo.org. ON THE COVER | FOR THE PEOPLE Case closed ABC’s ‘For the People’ wraps Deavere Smith (“The West Wing”) rounds example of how the show delves into both the out the cast as no-nonsense court clerk Tina professional and personal lives of the charac- rookie season Krissman. ters. It’s a formula familiar to fans of Shonda The cast of the ensemble drama is now part Rhimes, who’s an executive producer of “For By Kyla Brewer of the Shondaland dynasty, which includes hits the People,” along with Davies, Betsy Beers TV Media “Grey’s Anatomy,” “Scandal” and “How to Get (“Grey’s Anatomy”), Donald Todd (“This Is Us”) Away With Murder.” The distinction was not and Tom Verica (“How to Get Away With here’s something about courtroom lost on Rappaport, who spoke with Murder”). -
Rosser Goodman
Screen Talent Agency 818 206 0144 ROSSER GOODMAN 1st Assistant Director Rosser is strategically organized and ultra detail oriented. She is a master scheduler and keeps the set moving. She brings humor to the job and is not a screamer. Rosser forms strong alliances with director, producers and all department heads. She keeps communication flowing and supports a balanced, creative environment. As an industry veteran with over 15 years of experience, Rosser is an extreme asset in prep through wrap. She relishes working on projects of all varieties and meeting any challenge. DGA Trained * Movie Magic/EP Scheduling * Macbook Pro * Current Passport Select Credits FILM DIRECTOR / PRODUCTION CO. TOUCHING GRACE Anna Elizabeth James / Kiss and Tale Productions KING’S ROOK Livi Zheng / Stellar LLC THE PEOPLE SPEAK Chris Moore / First Tuesday Media LITTLE HERCULES in 3-D Cole McCay / Inovative Entertainment MIDNIGHT MOVIE Jack Messit / Bigfoot Entertainment DARK RIDE Craig Singer / Blue Omega / Lions Gate TRANSIT Niall MacCormick / Tigerlily Films / MTV WOMAN CHASER Robinson Devor / Tarmac Films / Sundance Channel PROPHECY 2 Greg Spence / Neo Films / Miramax T.V. AT&T HELP CHANNEL Jyoteen Majmudar / Digital Kitchen HONEYMOON WITH MOM Paul Kaufman / Lifetime TV SATURDAY NIGHT SOLUTION Matt Walker / Norsemen Prod / Court TV UNTOLD STORIES OF THE ER Jim Edwards / TLC / Discovery Channel EARTH 2 (Add’l on 22 episodes) various / Amblin / NBC COMMERCIALS/PROMOS JENNY CRAIG Jeff Wiser / Lyon Studios AMERICAN TUNES JJ Abrams / First Tuesday Media JOHN FROM