Television and the Public Library: a Study of the State of the Art As
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Introduction
Introduction It was the first week of 1980. Twelve months before, the University of Colorado Interdisciplinary Telecommunications Program (ITP) had suspended me for letting my grade point average drop below a 3.0. The ITP had admitted me with a provision that my grade point aver- age not fall below a 3.0. If not for a 750 score on the Graduate Record Exam and solid references from my sales manager, some of my previ- ous customers, and the training manager of Belden Corporation, the electronic cable manufacturing company that employed me, my appli- cation in 1977 to enter graduate school in the ITP probably wouldn’t even have been accepted. I’d previously been a factory sales representative for Belden in New York City in the 1970s. My sales territory predominantly served the national headquarters offices of broadcasters ABC, NBC, and CBS, the national headquarters offices of cable television industry multi- ple system operators (MSOs) Teleprompter Corporation and Warner Cable Corporation, and the two local cable television systems on xxix xxx INTrodUCTION Manhattan Island, Manhattan Cable Company (owned by Time Life Corporation) and Teleprompter Manhattan Corporation (owned by Teleprompter Corporation). In November 1975, I originated and arranged a meeting between Belden’s Vice President of Marketing, Jack McCarthy, and the President of Teleprompter Corporation’s Cable-TV Division, William Bresnan, to discuss a partnership to deploy light-wave technology via fiber-optic glass strands in cable television. On July 9, 1976, the New York Times reported, “TV Begins to Use Fiber Technology,”1 and the Wall Street Journal reported, “Tele- prompter Adds Light-Wave System to Cable-TV Unit.”2 The cable television industry obtained rights to pole attachment in public right- of-way from the FCC in 1978.3 After a summer session and the fall term in 1978 my grade point average slipped below a 3.0 due to a statistics class. -
Lenawee County Channel Lineup
950 Kids' Stuff 500 HBO 600 951 Hit List 501 HBO 2 952 Pop Adult 502 HBO Signature 953 Swinging Standards 503 HBO Family 954 Jukebox Oldies 504 HBO Comedy 955 Flashback 70's 505 HBO Zone 956 Everything 80's 520 Showtime 620 957 Nothin' but 90's 521 SHO 2 958 Maximum Party 522 Showtime Showcase 959 Groove: Disco & Funk 523 Showtime Extreme 960 Dance Clubbin' 524 Showtime Next 961 Holiday Hits 525 Showtime Family 962 Classic Rock 526 Showtime Women MUSIC 963 Alternative 527 FLIX 964 Heavy Metal 540 The Movie Channel 965 Rock 541 The Movie Channel Xtra 966 Alt Rock Classics 550 Cinemax 650 967 The Blues 551 MoreMax 968 Adult Alternative PRESTIGE 552 ActionMax 969 Folk Roots 553 ThrillerMax 970 Alt-Country American 554 MovieMax 971 Hot Country 555 MAX Latino 972 No Fences 556 5Star Max 973 Country Classics 557 OuterMax 974 Bluegrass 570 STARZ 670 975 Christian Pop & Rock 571 STARZ Edge 976 Gospel 572 STARZ Cinema 977 Soul Storm 573 STARZ Kids & Family 978 Hip Hop/R & B 574 STARZ ENC Family CHANNEL 979 Classic R & B & Soul 585 STARZ ENC 980 Hop Hop 586 STARZ ENC Black 981 Jazz Masters 587 STARZ ENC Classic 982 Jazz Now 588 STARZ ENC Suspense LINEUP 983 Smooth Jazz 589 STARZ ENC Westerns 984 The Chill Lounge 590 STARZ ENC Action LENAWEE COUNTY 985 The Spa 986 Easy Listening 987 Pop Classics 988 Classic Masters CALL 989 Chamber Music 800.311.7340 990 Broadway VISIT 991 Eclectic Electronic 992 Y2K D-PCOMM.COM 993 Jammin' CONNECT 994 Éxitos Tropicales @DPCOMM 995 Éxitos del Momento 996 Retro Latino @DPCommunications 997 Ritmos Latinos D & P -
2020 PREMIUM BOOK 55Th ANNUAL
2020 PREMIUM BOOK 55th ANNUAL January 30 - February 6, 2020 Dixie National Junior Round-Up Mississippi Coliseum - State Fairgrounds JACKSON, MISSISSIPPI www.dixienational.org DIXIE NATIONAL JUNIOR ROUND-UP SHOW MANAGEMENT COMMITTEE Livestock Director Mississippi Fair Commission ..................................................................................................................... Greg Young General Co-Managers ........................................................................................................ .Jill Wagner (FFA) and Dr. Dean Jousan (4-H) Clinical Veterinarians ....................................................................................Dr. Jim Brett, Dr. David Christiansen, and Dr. Carla Huston Beef Cattle Superintendents ................................................................................................Shelby Bearden, Brad Jones and Ellen Russell Dairy Cattle Superintendents .........................................................................Dr. Amanda Stone, Richard Hay and Dr. Patrick Poindexter Goat Superintendents ....................................................................................... Lance Newman, Jennifer Williams, and Tracy Robertson Lamb Superintendents .......................................................................................................................... Brandon Alberson and Alex Shook Swine Superintendents. ........................................................................................... Bubba Vandevere, Alex Deason, and -
Watching TV Through Your Ears: an Overview of Catalan-Language Broadcasters’ Accessibility Services Offered for Viewers with Sight Loss
Watching TV Through Your Ears: An Overview of Catalan-language Broadcasters’ Accessibility Services Offered for Viewers With Sight Loss Irene Tor-Carroggio Universitat Autnoma de Barcelona, Spain Sara Rovira-Esteva Universitat Autnoma de Barcelona, Spain _________________________________________________________ Abstract Citation: Tor-Carroggio, I. & Rovira- Since 2010 the provision of audio description is legally required on TV Esteva, S. (2020). Watching TV through in Spain. The objective of this study was threefold: to investigate the your ears: An overview of Catalan- language broadcasters' accessibility current state of the media accessibility services of Catalan-language services offered for viewers with sight broadcasters for viewers with sight loss in relation to current legislation; loss. Journal of Audiovisual Translation, 3(1), 1–25. to assess user satisfaction with these services; and to gather feedback Editor(s): E. di Giovanni & A. Jankowska from users on non-professional services. According to our results Received: November 04, 2019 broadcasters fail to comply with the law in terms of quantity, although Accepted: March 28, 2020 users are fairly satisfied with the quality offered and are willing to Published: October 15, 2020 explore new approaches for AD provision. Copyright: ©2020 Tor-Carroggio & Rovira-Esteva. This is an open access Key words: audiovisual translation, media accessibility, audio article distributed under the terms of the Creative Commons Attribution License. description, Catalan-language broadcasters, user This allows for unrestricted use, satisfaction, non-professional services. distribution, and reproduction in any medium, provided the original author and source are credited. [email protected], https://orcid.org/0000-0003-2924-014X [email protected], https://orcid.org/0000-0001-7647-6417 Watching TV Through Your Ears: An Overview of Catalan-language Broadcasters’ Accessibility Services Offered for Viewers with Sight Loss 1. -
Vodafone Spain Integrated Report 2015-16
Vodafone Spain Integrated Report 2015-16 Vodafone Power to you 2 Vodafone Spain Integrated Report 2015-16 Contents 1. INTRODUCTION Letters from the Chairman and the CEO 04 Report Scope and Criteria 06 Key Indicators 2015-16 07 2. OUR ORGANIZATION 09 Vodafone Group 10 Vodafone Spain 11 3. OUR STRATEGY 20 • About Us 11 • Organization 13 Industry Analysis 21 • Vodafone Spain 2015-16 14 • State of the Industry 21 • Objectives 18 • New legislation and regulations 23 Strategy 25 • Vodafone Group Strategy 25 • Vodafone’s Strategic Goals in Spain 26 • Relevant Business Matters 27 • Sustainable Business 29 4. ACTIVITIES AND RESULTS 34 Financial Results 35 Vodafone’s contribution to the country 2015-16 38 Our Management 2015-16: 44 • Customers 44 • Society 57 • Employees 69 • Suppliers 79 • Environment 81 3 5. ETHICS AND CORPORATE GOVERNANCE 87 Codes of Ethics 88 Regulatory Compliance 91 Risk Management 93 Corporate Governance 96 6. REPORT PREPARATION AND REVIEW 101 Reporting Principles 102 • Content according to IIRC 103 • GRI Materiality Analysis 104 • UN Global Compact Principles 106 Independent Assurance Report 107 GRI Table of Contents 109 Glossary 115 MEANING OF SYMBOLS INCLUDED 7. ANNUAL FINANCIAL STATEMENTS 2015-16* 116 IN THIS REPORT Vodafone España, S.A.U. 2015-16 117 Vodafone Ono, S.A.U. 2015-16 157 This icon refers to supplementary information in the Report This icon refers to additional information on our website: www.vodafone.es This icon refers to information that is on the Internet *Separate document 4 Vodafone Spain Integrated Report 2015-16 LETTER FROM THE CHAIRMAN Francisco Román Once again, I am pleased to present Vodafone Spain’s I would also like to point to the work undertaken by the Integrated Report, this time for financial year 2015-16, (1st Vodafone Spain Foundation, which in the 2015-16 period April 2015 to 31st March 2016), which outlines the company’s dedicated € 5.2 million to social purposes within the key financial and non-financial information. -
Exploring Canarian Humour in the First Locally Produced Sitcom in RTVC
http://dx.doi.org/10.7592/EJHR2013.1.4.gonzalezcruz European Journal of Humour Research 1(4) 35 -57 www.europeanjournalofhumour.org Exploring Canarian humour in the first locally produced sitcom in RTVC Mª Isabel González Cruz Universidad de Las Palmas de Gran Canaria Abstract Between December 2011 and May 2012, the public television channel (RTVC) in the Canary Islands (Spain) aired, in prime time, the first locally produced situation comedy. Titled La Revoltosa (henceforth LR), it was the most ambitious production in the channel’s more than 14 years of existence. This series was said to display a humorous interpretation of Canarian society. Indeed, according to the executive producer, the characters reflected ordinary Canarian families. One of the attractions of the series was the inclusion of popular Canarian comedian Manolo Vieira as the main protagonist. In this paper, I briefly outline the strategies typically used by this important figure of Canarian humour before I discuss two episodes of LR to explore the resources they employ to provoke humour. Particularly, I study the role played by language, and analyse how characters and situations are portrayed, thus examining universal humour in contrast to regional or ethnic humour. This comparison between the humour strategies used by Manolo Vieira and the ones employed in LR will enable us to determine to what extent this sitcom favours the Canarian (ethnic) humour traditionally represented by Vieira or rather resorts to more general (universal) humour strategies and stereotypes. Keywords: Canarian humour; sitcoms; linguistic humour; stereotypes; Canarian Spanish. 1. Introduction It is widely recognised that humour has a high profile in our contemporary society. -
Recommendation Itu-R Bo.1516*
Rec. ITU-R BO.1516 1 RECOMMENDATION ITU-R BO.1516* Digital multiprogramme television systems for use by satellites operating in the 11/12 GHz frequency range (Question ITU-R 3/6) (2001) The ITU Radiocommunication Assembly, considering a) that digital multiprogramme systems have been designed for use by satellites in the 11/12 GHz frequency range; b) that these systems, being digital, provide significant advantages in service quality of video, sound and data, flexibility of use, spectrum efficiency and emission robustness; c) that these systems provide for a multiplicity of services such as TV programmes, multimedia elements, data services, audio channels and the like in a single multiplex; d) that these systems are either in widespread operational use or are planned to be in operational use in the near future; e) that four of these systems have been described in Recommendations ITU-R BO.1211, ITU-R BO.1294 and ITU-R BO.1408; f) that significant advances have been made in digital multiprogramme system technology following the development of Recommendation ITU-R BO.1294, and these advances are embodied in the system described in Recommendation ITU-R BO.1408; g) that all four of these systems, including the advanced technology system described in Recommendation ITU-R BO.1408, have very similar architectures and share the same common system elements that were identified in Recommendation ITU-R BO.1294; h) that it is desirable to update this information and then combine it into a single Recommendation; j) that integrated circuits compatible -
Euskaltel and R Cable Y Telecomunicaciones De Galicia, Sa
TO THE COMISION NACIONAL DEL MERCADO DE VALORES “HECHO RELEVANTE” Bilbao, July 23rd 2015 EUSKALTEL, S.A. EUSKALTEL AND R CABLE Y TELECOMUNICACIONES DE GALICIA, S.A. (“R CABLE”) REACH A PRELIMINARY AGREEMENT FOR ITS INTEGRATION Euskaltel and R Cable have reached a preliminary agreement to integrate both companies and create a leading telecommunication operator in the North of Spain. The resulting entity would count on a c.725,000 km combined network serving to over 715 thousand clients (residential and companies) and with pro-forma revenue of €570m and EBITDA of €265m. This would significantly increase its relevance in the Spanish and European markets while maintaining their solid positioning and commitment in the regions where both companies are strongly rooted. R Cable has been valued at €1,155 million (Enterprise Value), representing a multiple of approximately 10.9x EBITDA, which are similar parameters as to Euskaltel IPO. Euskaltel offers to R shareholders a consideration consisting primarily in cash and the remaining in newly issued shares of Euskaltel All shareholders commit to maintain the local component of both companies. This will mean the continuity of both brands, local structure and management teams, which are deemed key for the success of the respective companies during the past years. Euskaltel and R expect to share their best practices and deliver relevant synergies from the transaction, mainly derived from an improved access and negotiation capability on products, services and contents, which will be thoroughly analysed by the management teams of the companies and will be communicated to the market at the conclusion of the due diligence process. -
CBS, Rural Sitcoms, and the Image of the South, 1957-1971 Sara K
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2013 Rube tube : CBS, rural sitcoms, and the image of the south, 1957-1971 Sara K. Eskridge Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Eskridge, Sara K., "Rube tube : CBS, rural sitcoms, and the image of the south, 1957-1971" (2013). LSU Doctoral Dissertations. 3154. https://digitalcommons.lsu.edu/gradschool_dissertations/3154 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. RUBE TUBE: CBS, RURAL SITCOMS, AND THE IMAGE OF THE SOUTH, 1957-1971 A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Sara K. Eskridge B.A., Mary Washington College, 2003 M.A., Virginia Commonwealth University, 2006 May 2013 Acknowledgements Many thanks to all of those who helped me envision, research, and complete this project. First of all, a thank you to the Middleton Library at Louisiana State University, where I found most of the secondary source materials for this dissertation, as well as some of the primary sources. I especially thank Joseph Nicholson, the LSU history subject librarian, who helped me with a number of specific inquiries. -
Cable-Copyright: the Corruption of Consensus, 6 Hastings Comm
Hastings Communications and Entertainment Law Journal Volume 6 | Number 2 Article 2 1-1-1983 Cable-Copyright: The orC ruption of Consensus Leslie A. Swackhamer Follow this and additional works at: https://repository.uchastings.edu/ hastings_comm_ent_law_journal Part of the Communications Law Commons, Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Leslie A. Swackhamer, Cable-Copyright: The Corruption of Consensus, 6 Hastings Comm. & Ent. L.J. 283 (1983). Available at: https://repository.uchastings.edu/hastings_comm_ent_law_journal/vol6/iss2/2 This Article is brought to you for free and open access by the Law Journals at UC Hastings Scholarship Repository. It has been accepted for inclusion in Hastings Communications and Entertainment Law Journal by an authorized editor of UC Hastings Scholarship Repository. For more information, please contact [email protected]. Cable-Copyright: The Corruption of Consensus By LESLIE A. SWACKHAMER* I Introduction [T] his is the corruption of consensus-the attempt to find uni- versal agreement on so many issues that great public purposes are eroded by tiny problems solved by adjustment and adaptation.' The 1976 Copyright Revision Act was over twenty years in the making.2 During most of those twenty years, the cable- copyright issue stalemated the revision of the 1909 Copyright Act, legislation which was passed before the invention of radio or television.' A lack of integration between communications and copyright policy formed the core of -
The Effects of Branding Intangibles on Corporate Reputation. a Complete
The Effects of Branding Intangibles on Corporate Reputation. A complete value chain analysis in the case of Catalonia Television Los intangibles de la marca y su efecto en la reputación corporativa. La evaluación de toda cadena de valor de Televisión de Catalunya Orozco-Toro, J. A. y Ferré-Pavia, C.1 Recibido: 06-08-2018 – Aceptado: 30-01-2019 DOI: https://doi.org/10.26441/RC18.1-2019-A6 ABSTRACT: This paper focuses on the problem of Corporate Reputation in relation to stakeholders’ perception. More precisely, how the intangible values of branding have a potential influence on the Corporate Reputation of a communication company. As fieldwork, with the aim of having contact with the complete value chain of a corporation, 463 questionnaires conducted with members from all the stakeholder groups (7) of Televisió de Catalunya–TV3 regarding La Marató de TV3 have been analyzed. La Marató action is a Corporate Social Responsibility event organized by the autonomous public television network of Catalonia (Barcelona, Spain). The results allow us to identify how trust, quality, transparency and solidarity are the most important values identified in its corporate reputation. This research is relevant as it studies the role of and relationship between intangible values of branding and the perception of corporate reputation in a complete company value chain (representing all its stakeholders). Keywords: brand; communication; corporate reputation; Intangibles, Stakeholders, Value chain. RESUMEN: El presente artículo se centra en la percepción de la reputación corporativa por parte de los stakeholders de una empresa. Más concretamente, en como los intangibles de la marca tienen una influencia potencial en la reputación corporativa de una empresa de comunicación. -
II. Comprehension:8Pts A
First Term - Exam 1 Full Name: _____________________________ Class: _____________ Time: 55 Minutes October 17th, 2018 1. J. G. Quintel is thirty-six years old. He is an American voice actor, animator, television writer, producer and director. He is best known as the creator of the Cartoon Network series ‘Regular Show’, in which he also voiced the characters Mordecai and High Five Ghost. 2.My name is J.G. Quintel, and I’m the creator of ‘The Regular Show’. I grew up watching cartoons especially‘The Simpsons’, I didn’t miss an episode at all.‘The Simpsons’ was the one that my friends and I were quoting constantly. 3.I really liked drawing, and I liked art. For as long as I can remember, I never wanted to be anything else. When I found out that it’s actually something people do for a living, I decided that I wanted to do that. So I went to college, and now I’m doing it. 4.In school you had to make a film every year.So, I made a film that had Mordecai in itand Benson in it. And it really was like how we acted in school. All the “uuuh!” and “Hmm, hmm!Hmm!hmm!”, that is just me and my friends being idiots.Because of the animation, you can do anything. So, they could have been human but that would be kind of boring. All the characters from my films are not what they happen to be. If you get past the fact that Benson is a gumball machine, or that Pops is a lollipop, they are just normal people hanging out.