REALITY TV CASE STUDY LANGLEY PRODUCTIONS & Its Long
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Friday Prime Time, April 17 4 P.M
April 17 - 23, 2009 SPANISH FORK CABLE GUIDE 9 Friday Prime Time, April 17 4 P.M. 4:30 5 P.M. 5:30 6 P.M. 6:30 7 P.M. 7:30 8 P.M. 8:30 9 P.M. 9:30 10 P.M. 10:30 11 P.M. 11:30 BASIC CABLE Oprah Winfrey Å 4 News (N) Å CBS Evening News (N) Å Entertainment Ghost Whisperer “Save Our Flashpoint “First in Line” ’ NUMB3RS “Jack of All Trades” News (N) Å (10:35) Late Show With David Late Late Show KUTV 2 News-Couric Tonight Souls” ’ Å 4 Å 4 ’ Å 4 Letterman (N) ’ 4 KJZZ 3The People’s Court (N) 4 The Insider 4 Frasier ’ 4 Friends ’ 4 Friends 5 Fortune Jeopardy! 3 Dr. Phil ’ Å 4 News (N) Å Scrubs ’ 5 Scrubs ’ 5 Entertain The Insider 4 The Ellen DeGeneres Show (N) News (N) World News- News (N) Two and a Half Wife Swap “Burroughs/Padovan- Supernanny “DeMello Family” 20/20 ’ Å 4 News (N) (10:35) Night- Access Holly- (11:36) Extra KTVX 4’ Å 3 Gibson Men 5 Hickman” (N) ’ 4 (N) ’ Å line (N) 3 wood (N) 4 (N) Å 4 News (N) Å News (N) Å News (N) Å NBC Nightly News (N) Å News (N) Å Howie Do It Howie Do It Dateline NBC A police of cer looks into the disappearance of a News (N) Å (10:35) The Tonight Show With Late Night- KSL 5 News (N) 3 (N) ’ Å (N) ’ Å Michigan woman. (N) ’ Å Jay Leno ’ Å 5 Jimmy Fallon TBS 6Raymond Friends ’ 5 Seinfeld ’ 4 Seinfeld ’ 4 Family Guy 5 Family Guy 5 ‘Happy Gilmore’ (PG-13, ’96) ›› Adam Sandler. -
Crimesploitation
Crimesploitation Oxford Research Encyclopedia of Criminology Crimesploitation Paul Kaplan and Daniel LaChance Subject: Crime, Media, and Popular Culture Online Publication Date: Apr 2017 DOI: 10.1093/acrefore/9780190264079.013.34 Summary and Keywords Crimesploitation is a kind of reality television programming that depicts nonactors committing, detecting, prosecuting, and punishing criminal behavior. In programs like Cops, To Catch a Predator, and Intervention, a real-life-documentary frame creates a sense of verisimilitude that intensifies the show’s emotionally stimulating qualities and sets it apart from fictional crime stories. Crimesploitation programs create folk knowledge about the causes and consequences of criminal behavior and the purposes and effects of criminal punishment. That folk knowledge, in turn, reflects and reinforces two ideologies that legitimized the ratcheting up of harsh punishment in the late-twentieth- century United States: law-and-order punitivism and neoliberalism. Keywords: cultural criminology, visual criminology, reality television, neoliberalism, punishment Page 1 of 17 PRINTED FROM the OXFORD RESEARCH ENCYCLOPEDIA, CRIMINOLOGY AND CRIMINAL JUSTICE (criminology.oxfordre.com). (c) Oxford University Press USA, 2016. All Rights Reserved. Personal use only; commercial use is strictly prohibited (for details see Privacy Policy and Legal Notice). Subscriber: San Diego State University; date: 17 October 2018 Crimesploitation Introduction From nightly newscasts to fictional police procedurals like Criminal Minds, the contemporary media landscape is filled with spectacles of crime and punishment that aim to attract wide audiences and generate profit. Crimesploitation is a particular iteration of this kind of spectacle. We use the term to refer to reality television programming that has, since the 1980s, depicted nonactors committing, detecting, prosecuting, and punishing criminal behavior. -
Popular Culture, Crime and Social Control Sociology of Crime, Law and Deviance
POPULAR CULTURE, CRIME AND SOCIAL CONTROL SOCIOLOGY OF CRIME, LAW AND DEVIANCE Series Editors: Mathieu Deflem (Volumes 6–14) Jeffrey T. Ulmer (Volumes 1–5) Recent Volumes: Volume 6: Ethnographies of Law and Social Control – Edited by Stacey Lee Burns, 2005 Volume 7: Sociological Theory and Criminological Research, Views from Europe and United States – Edited by Mathieu Deflem, 2006 Volume 8: Police Occupational Culture: New Debates and Directions – Edited by Megan O’Neill, Monique Marks and Anne-Marie Singh, 2007 Volume 9: Crime and Human Rights – Edited by Stephan Paramentier and Elmar Weitekamp, 2007 Volume 10: Surveillance and Governance: Crime Control and Beyond – Edited by Mathieu Deflem, 2008 Volume 11: Restorative Justice: From Theory to Practice – Edited by Holly Ventura Miller, 2008 Volume 12: Access to Justice – Edited by Rebecca L. Sandefur, 2009 Volume 13: Immigration, Crime and Justice – Edited by William F. McDonald, 2009 SOCIOLOGY OF CRIME, LAW AND DEVIANCE VOLUME 14 POPULAR CULTURE, CRIME AND SOCIAL CONTROL EDITED BY MATHIEU DEFLEM University of South Carolina, Columbia, SC United Kingdom – North America – Japan India – Malaysia – China Emerald Group Publishing Limited Howard House, Wagon Lane, Bingley BD16 1WA, UK First edition 2010 Copyright r 2010 Emerald Group Publishing Limited Reprints and permission service Contact: [email protected] No part of this book may be reproduced, stored in a retrieval system, transmitted in any form or by any means electronic, mechanical, photocopying, recording or otherwise without either the prior written permission of the publisher or a licence permitting restricted copying issued in the UK by The Copyright Licensing Agency and in the USA by The Copyright Clearance Center. -
How Television Influences Social Institutions: the Case of Policing and Criminal Justice
HOW TELEVISION INFLUENCES SOCIAL INSTITUTIONS: THE CASE OF POLICING AND CRIMINAL JUSTICE by AARON DOYLE B.A., the University of Victoria, 1987 M.A., The University of Toronto, 1993 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY i n THE FACULTY OF GRADUATE STUDIES (Department of Anthropology and Sociology) We accept this thesis as conforming to Jt]e required standard The Uinfversity of British Columbia October 2000 © Aaron Doyle 2000 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. c Department W.Mnol(M\j bQ (J9I0 1 J of British Columbia Vancouver, Canada Date Moxf It) / QQ DE-6 (2/88)- 11 ABSTRACT Most research about television studies its impact on viewers. This thesis asks instead how TV influences what is in front of the camera. The dissertation investigates how TV reshapes other institutions as it broadcasts their activities, using four ethnographic studies of televised crime and policing. These studies examine: 1) the reality-TV show "Cops"; 2) the televising of surveillance footage and home video of crime and policing: 3) television and Vancouver's Stanley Cup riot; 4) the law-breaking television stunts of Greenpeace. -
Hy-Vee MEAT DEPARTMENT Means
TVetc_5 2/4/09 4:15 PM Page 2 FRIDAY ** AFTERNOON ** FEBRUARY 6 THURSDAY ** AFTERNOON ** FEBRUARY 12 12 PM 12:30 1 PM 1:30 2 PM 2:30 3 PM 3:30 4 PM 4:30 5 PM 5:30 12 PM 12:30 1 PM 1:30 2 PM 2:30 3 PM 3:30 4 PM 4:30 5 PM 5:30 <BROADCAST<STATIONS<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> <BROADCAST<STATIONS<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> KUSD d V (11:30) Sesame Mister Rogers’ The Berenstain Between the Lions Assignment: The Reading Rainbow Arthur (S) (EI) WordGirl (S) (EI) The Electric Cyberchase Digit’s Wishbone Nightly Business KUSD d V (11:30) Sesame Mister Rogers’ Berenstain Bears Between the Lions Design Squad ‘‘Big Reading Rainbow Arthur (S) (EI) WordGirl Battle the Fetch! With Ruff Cyberchase Wishbone (S) Nightly Business Street (S) (EI) Neighborhood Bears Tree stump. ‘‘The Sad Dad’’ World ‘‘Silent Lotus.’’ Company Bug zoo. birthday. (S) (EI) ‘‘Cyranose’’ (S) Report (N) (S) Street (S) (EI) Neighborhood (S) Switching places. (S) (EI) Bugs’’ (S) (S) (EI) Butcher. (S) (EI) Ruffman ‘‘Finale’’ ‘‘Chaos as Usual’’ Report (N) (S) News Days of our Lives The Tyra Banks Show Little House on the Prairie Extra The Ellen DeGeneres Show News NBC Nightly News KTIV f X News (N) (S) Days of our Lives (N) (S) The Tyra Banks Show Losing weight in Little House on the Prairie ‘‘Sylvia’’ Extra (N) (S) The Ellen DeGeneres Show Jennifer News (N) (S) NBC Nightly News KTIV f X (S) (N) (S) Beauty secrets; A local (N) (S) Author 2009. (N) (S) (Part 2 of 2) Aniston. -
The Museum of Television & Radio
The Museum of Television & Radio 2005 Annual Report Table of Contents . Letter from the Chairman . 5 Museum Overview. 7 Board Lists Board of Trustees . 8 Los Angeles Board of Governors . 10 Media Center Board of Governors . 11 International Council Advisory Board and Members . 12 Public Programming She Made It Initiative . 16 Events . 18 Robert M. Batscha University Satellite Seminar Series. 21 William S. Paley Television Festival. 22 Television Documentary Festival . 24 Screening Series . 25 Listening Series . 26 Radio Broadcasts. 26 Television Special . 28 Gallery Exhibits . 28 Education Class Program . 29 Family Program . 30 Re-creating Radio . 30 Acquisitions for the Collection . 31 Special Events Galas . 32 Celebrity Golf Classic . 32 Members-Only Events . 33 Producers Circle Events . 33 Industry Programs MT&R Media Center Roundtable Breakfasts . 34 Boardroom Luncheons . 35 Dialogues . 36 Panels. 36 Industry Forum. 37 International Council Events and Panel Discussions . 38 Summary of 2005 Financial Information . 39 Donors List . 40 3 Letter from the Chairman . On behalf of the Museum’s Board of Trustees and staff, I am proud to present the annual report of The Museum of Television & Radio for 2005. Anyone familiar with this organization knows just how unique it is. In a time of sweeping changes in the media land- scape, the Museum plays a critical role in preserving, celebrating, and documenting our shared history captured by the media, as well as the history being made by the media. It has an ever-deepening impact on all our lives: shaping ideas, launching trends, and connecting us all across borders, cultures, and countries. The Museum helps both the public and the industry understand just how profound the media’s impact has become. -
COPS (TV Series) from Wikipedia, the Free Encyclopedia COPS COPS
COPS (TV series) From Wikipedia, the free encyclopedia COPS COPS title screen. Reality Format Documentary John Langley Created by Malcolm Barbour Harry Newman Starring (announcer) Country of origin United States Production Executive John Langley producer(s) Malcom Barbour (1989-1993) Paul Stojanovich (1989) Bertram van Munster Producer(s) (1989-1998) Murray Jordan (1998-2000) Jimmy Langley (2000-present) Morgan Langley (2007-present) approx. 22 min. Running time (excluding commercials) Langley Productions Production In Association With Fox Television company(s) Stations; syndicated by 20th Television Broadcast Original channel Fox 480i (SDTV), Picture format 720p (HDTV) Audio format Stereo Original run March 11, 1989 – present COPS is an American documentary television series that follows police officers, constables, and sheriff's deputies during patrols and other police activities. It is one of the longest-running television programs in the United States and the second longest-running show on Fox and, along with America's Most Wanted, the first of the longest unchanged nightly schedule (Fox's Saturday night) currently on American broadcast television. Created by John Langley and Malcolm Barbour, it premiered on March 11, 1989, and has aired 750 episodes as of March 21, 2009. It won the American Television Award in 1993 and has earned four Emmy nominations. [1] COPS began its 22nd season on September 12, 2009. The series is currently one of only three remaining first-run primetime programs airing on Saturday nights on the four major U.S. broadcast television networks, along with America's Most Wanted, and CBS' 48 Hours Mystery. COPS is broadcast by Fox (with repeats from earlier seasons syndicated to local television stations and other cable networks, including truTV (formerly CourtTV) and G4), and follows the activities of police officers by embedding camera crews with police units. -
Written Direct Statement of the Mpaa-Represented Program Suppliers
Before the COPYRIGHT ROYALTY JUDGES Washington, D.C. ) In the Matter of ) ) Distribution of the ) Docket No. 2012-6 CRB CD 2004-2009 ) (Phase II) 2004, 2005, 2006, 2007, 2008, and ) 2009 Cable Royalty Funds ) ) WRITTEN DIRECT STATEMENT OF THE MPAA-REPRESENTED PROGRAM SUPPLIERS VOLUME I OF II WRITTEN TESTIMONY AND EXHIBITS Gregory O. Olaniran D.C. Bar No. 455784 Lucy Holmes Plovnick D.C. Bar No. 488752 Kimberly P. Nguyen D.C. Bar No. 996237 Naomi Straus D.C. Bar No. 1011753 MITCHELL SILBERBERG & KNUPP LLP 1818 N Street, NW, 8th Floor Washington, D.C. 20036 Telephone: (202) 355-7917 Facsimile: (202) 355-7887 [email protected] [email protected] Attorneys for MPAA-Represented May9,2014 Program Suppliers Before the COPYRIGHT ROYALTY JUDGES Washington, D.C. ) In the Matter of ) ) Distribution of the ) Docket No. 2012-6 CRB CD 2004-2009 ) (Phase II) 2004, 2005, 2006, 2007, 2008, and ) 2009 Cable Royalty Funds ) ) WRITTEN DIRECT STATEMENT OF MPAA-REPRESENTED PROGRAM SUPPLIERS The Motion Picture Association of America, Inc. ("MPAA"), on behalf of its member companies and other producers and/or distributors of syndicated movies, series, specials, and non-team sports broadcast by television stations who have agreed to representation by MPAA ("MPAA-represented Program Suppliers"),1 in accordance with the September 23, 2013 Order of the Copyright Royalty Judges ("Judges"), hereby submit their Written Direct Statement in the captioned matter. MPAA submits this introductory memorandum in order to summarize the evidence it intends to present in this proceeding and to state the Phase II Claims of MPAA-represented Program Suppliers for the 2004, 2005, 2006, 2007, 2008, and 2009 cable royalty funds ("2004-2009 Cable Royalties").