(12) Patent Application Publication (10) Pub. No.: US 2008/0141303 A1 Walker Et Al

Total Page:16

File Type:pdf, Size:1020Kb

(12) Patent Application Publication (10) Pub. No.: US 2008/0141303 A1 Walker Et Al US 2008O141303A1 (19) United States (12) Patent Application Publication (10) Pub. No.: US 2008/0141303 A1 Walker et al. (43) Pub. Date: Jun. 12, 2008 (54) INTERACTIVE MEDIA GUIDANCE SYSTEM Publication Classification HAVING MULTIPLE DEVICES (51) Int. Cl. (75) Inventors: Todd A. Walker, Bixby, OK (US); G06F 3/00 (2006.01) Samir B. Armaly, La Canada, CA (US); Robert A. Knee, Lansdale, (52) U.S. Cl. .......................................................... T25/39 PA (US) Correspondence Address: (57) ABSTRACT ROPES & GRAY LLP PATENT DOCKETING39/361,1211 AVENUE OF When selecting a television program for recording, a user THE AMERICAS may configure the delivery of the selected television program and associated data and interactive applications to different NEW YORK, NY 10036-8704 user equipment devices in a home network, which may have (73) Assignee: UNITED VIDEO PROPERTIES, different capabilities. Because the user equipment devices in INC. the home network may have different capabilities, the user may wish to deliver different types and amount of content, (21) Appl. No.: 11/324,187 different amounts of data, and different versions of interactive applications to the user equipment devices in the home net (22) Filed: Dec. 29, 2005 work. 100 142 Service 146 Provider 144 Programming Sources Data Source 132 12O 126 Communications Network Television Distribution Facility User User User Television Computer Equipment Equipment Equipment 113 Patent Application Publication Jun. 12, 2008 Sheet 1 of 27 US 2008/0141303 A1 Communications Network Television Distribution Facility User User User Television Computer Equipment Equipment Equipment FIG. 1 Patent Application Publication Jun. 12, 2008 Sheet 2 of 27 US 2008/O141303 A1 11 2O2 Set-Top Box 204 Recording Device (e.g., Personal Video 2O6 Recorder) 208 Television FIG. 2 Patent Application Publication Jun. 12, 2008 Sheet 3 of 27 US 2008/O141303 A1 11 306 Recording Device 3O2. (e.g., Personal Video Recorder) 304 Television FIG. 3 Patent Application Publication Jun. 12, 2008 Sheet 4 of 27 US 2008/O141303 A1 400 FIG. 4 Patent Application Publication Jun. 12, 2008 Sheet 5 of 27 US 2008/0141303 A1 5O2 504 Personal Computer Unit Keyboard FIG. 5 Patent Application Publication Jun. 12, 2008 Sheet 6 of 27 US 2008/O141303 A1 108, 110, 112 Storage (e.g., RAM, ROM, Hard Disk, Removable Disk, etc.) 604 618 Peripheral Device 614 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - User input Interface Patent Application Publication Jun. 12, 2008 Sheet 7 of 27 US 2008/0141303 A1 7O6 User Equipment 1 User Equipment 2 User Equipment 3 FIG. 7 Patent Application Publication Jun. 12, 2008 Sheet 8 of 27 08 Qua?uOOpuo09}} (GOOZ) ouohouquaepoleusogobuprosessi?iwòiº[:] ºogv--GOOz‘9uæquæAON‘KepunS X?JONA?9N Patent Application Publication Jun. 12, 2008 Sheet 9 of 27 US 2008/O141303 A1 Patent Application Publication Jun. 12, 2008 Sheet 10 of 27 US 2008/O141303 A1 #778 979 Z#78suo?doAuæA?IaqQoeles|auoudue[n]]30S,uuoW Patent Application Publication Jun. 12, 2008 Sheet 11 of 27 US 2008/O141303 A1 98 Qua?uOO eqed 9/8 Z98 789 Patent Application Publication 98 Patent Application Publication Jun. 12, 2008 Sheet 13 of 27 US 2008/O141303 A1 98 Z98 #798 #788 Patent Application Publication Jun. 12 9 2008 Sheet 14 of 27 US 2008/O141303 A1 ?saa?MasnoHe?euadsaq<1 Z06ISO Patent Application Publication Jun. 12, 2008 Sheet 15 of 27 US 2008/O141303 A1 06'91-' uÐINJIeHepueOAWL s/weN6u?uæAESEO Patent Application Publication Jun. 12, 2008 Sheet 16 of 27 US 2008/O141303 A1 Patent Application Publication Jun. 12, 2008 Sheet 17 of 27 US 2008/0141303 A1 () O) 2 C c) D O C O) wdcy h C O. G ?a Patent Application Publication Jun. 12, 2008 Sheet 18 of 27 US 2008/0141303 A1 s N o V LS V () d C O o O O s t " O o O y D Patent Application Publication Jun. 12, 2008 Sheet 19 of 27 US 2008/0141303 A1 1OOO 1002 Select video programming to record Record the selected video programming in 1004 formats suitable for display by the user equipment devices in the home network identify a format of the recorded video 1 OO6 deviceESSES is capable that of displaying the user equipment based on the capabilities of the user equipment device Receive a request from a user 1008 equipment device to play back the recorded video programming Deliver the recorded video 1009 programming in the identified format to the user equipment device FIG. 10a 1010 1012 Select video programming to record Receive a request from a user 1014 equipment device to play back the recorded video programming Identify a format of the recorded video ES that the user equipment 1016 device is capable of displaying based on the capabilities of the user equipment device Translate the recorded video 1018 programming into the identified format Deliver the recorded video 1019 programming in the identified format to the user equipment device FIG. 1 Ob Patent Application Publication Jun. 12, 2008 Sheet 20 of 27 US 2008/0141303 A1 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 1036 High-definition Standard Cellular user equipment definition user Phone device equipment device 1024 1026 1028 FIG. 10C Media types MPEG Bandwidth (Mbp) 40 FIG. 10d Patent Application Publication Jun. 12, 2008 Sheet 21 of 27 US 2008/0141303 A1 Specify viewing preferences for a first 1052 device that can access the video programming through the network Specify viewing preferences for a second 1054 device that can access the video programming through the network Deliver a first version of the video programming to the first device based on 1056 the viewing preferences for the first device Deliver a second Version of the Video programming to the second device based 1058 on the viewing preferences for the second device FIG. 1 Oe Patent Application Publication Jun. 12, 2008 Sheet 22 of 27 US 2008/0141303 A1 Allow a user equipment device 1102 in a home network to access content stored on the home network Determine the bandwidth capabilities 1104 of the user equipment device Provide a bandwidth-appropriate version 1106 of the stored content to the user equipment device FIG. 11a Patent Application Publication Jun. 12, 2008 Sheet 23 of 27 US 2008/0141303 A1 FIG. 11C Patent Application Publication Jun. 12, 2008 Sheet 24 of 27 US 2008/0141303 A1 1200 Store different versions of 1202 interactive applications on a network Allow a user equipment device 1204 to access the most suitable version of the interactive application F.G. 12a Allow a user equipment device to access on interactive application stored on a network Modify the interactive application for display by the user equipment device Provide the user equipment device with the modified interactive application FIG. 12b Patent Application Publication Jun. 12, 2008 Sheet 25 of 27 US 2008/O141303 A1 Store an interactive application that is implemented in a platform-independent language Allow one of the user equipment devices in the network to access the interactive application, wherein the interactive application is configured to adapt its display screens to the capabilities of the user equipment device FIG. 12C Patent Application Publication Jun. 12, 2008 Sheet 26 of 27 US 2008/0141303 A1 Provide access to video programming, 1232 wherein the video programming has an associated interactive application Receive a request from a first user 1234 equipment device in the home network to play the video programming identify a first version of the interactive 1236 application that is appropriate for the first user equipment device Deliver the video programming and the 1238 first version of the interactive application to the first user equipment device FIG. 12C Patent Application Publication Jun. 12, 2008 Sheet 27 of 27 US 2008/0141303 A1 Provide access to video programming, 1302 wherein the video programming has associated program data Receive a request from a first user 1304 equipment device in the home network to play the video programming Identify a first selection of the associated 1306 program data that is appropriate for the first user equipment device Deliver the video programming and the 1308 first Selection of the associated program data to the first user equipment device F.G. 13 US 2008/014 1303 A1 Jun. 12, 2008 INTERACTIVE MEDIA GUIDANCE SYSTEM interactive application, Such as, for example, a navigation HAVING MULTIPLE DEVICES application, a commerce application, a Voting application, a. trivia application, a wagering application, a user behavior BACKGROUND OF THE INVENTION monitoring application, a preference setting application, an 0001. This invention relates to interactive media guidance interactive advertising application, and any other Suitable systems and more particularly to interactive media guidance application. systems having multiple devices. 0009 For example, an episode of “Desperate House 0002 User equipment devices located in a home network wives” may be recorded on a home network that includes a may be able to share content and program guide settings with high-definition user equipment device, a standard-definition other user equipment devices in the home network. For user equipment device, and a cellular phone. In some embodi example, a user equipment device located in a home network ments, the user may select the formats of the content to may be allowed to play a recorded television program stored record. The user may select to record the high definition, on another user equipment device in the home network. The standard definition and H.264 formats of “Desperate House ability of user equipment devices in home networks to share wives” on a home network server (e.g., server 902 (FIG.9)). content and data is discussed in greater detail in U.S. patent The user may select the formats of “Desperate Housewives' application Ser. No. 09/356,161, filed Jul. 16, 1999, which is to deliver to the user equipment devices in the home network.
Recommended publications
  • Are You What You Watch?
    Are You What You Watch? Tracking the Political Divide Through TV Preferences By Johanna Blakley, PhD; Erica Watson-Currie, PhD; Hee-Sung Shin, PhD; Laurie Trotta Valenti, PhD; Camille Saucier, MA; and Heidi Boisvert, PhD About The Norman Lear Center is a nonpartisan research and public policy center that studies the social, political, economic and cultural impact of entertainment on the world. The Lear Center translates its findings into action through testimony, journalism, strategic research and innovative public outreach campaigns. Through scholarship and research; through its conferences, public events and publications; and in its attempts to illuminate and repair the world, the Lear Center works to be at the forefront of discussion and practice in the field. futurePerfect Lab is a creative services agency and think tank exclusively for non-profits, cultural and educational institutions. We harness the power of pop culture for social good. We work in creative partnership with non-profits to engineer their social messages for mass appeal. Using integrated media strategies informed by neuroscience, we design playful experiences and participatory tools that provoke audiences and amplify our clients’ vision for a better future. At the Lear Center’s Media Impact Project, we study the impact of news and entertainment on viewers. Our goal is to prove that media matters, and to improve the quality of media to serve the public good. We partner with media makers and funders to create and conduct program evaluation, develop and test research hypotheses, and publish and promote thought leadership on the role of media in social change. Are You What You Watch? is made possible in part by support from the Pop Culture Collaborative, a philanthropic resource that uses grantmaking, convening, narrative strategy, and research to transform the narrative landscape around people of color, immigrants, refugees, Muslims and Native people – especially those who are women, queer, transgender and/or disabled.
    [Show full text]
  • NCA All-Star National Championship Wall of Fame
    WALL OF FAME DIVISION YEAR TEAM CITY, STATE L1 Tiny 2019 Cheer Force Arkansas Tiny Talons Conway, AR 2018 Cheer Athletics Itty Bitty Kitties Plano, TX 2017 Cheer Athletics Itty Bitty Kitties Plano, TX 2016 The Stingray All Stars Grape Marietta, GA 2015 Cheer Athletics Itty Bitty Kitties Plano, TX 2014 Cheer Athletics Itty Bitty Kitties Plano, TX 2013 The Stingray All Stars Marietta, GA 2012 Texas Lonestar Cheer Company Houston, TX 2011 The Stingray All Stars Marietta, GA 2010 Texas Lonestar Cheer Company Houston, TX 2009 Cheer Athletics Itty Bitty Kitties Dallas, TX 2008 Woodlands Elite The Woodlands, TX 2007 The Pride Addison, TX __________________________________________________________________________________________________ L1.1 Tiny Prep D2 2019 East Texas Twisters Ice Ice Baby Canton, TX __________________________________________________________________________________________________ L1.1 Tiny Prep 2019 All-Star Revolution Bullets Webster, TX __________________________________________________________________________________________________ L1 Tiny Prep 2018 Liberty Cheer Starlettes Midlothian, TX 2017 Louisiana Rebel All Stars Faith (A) Shreveport, LA Cheer It Up All-Stars Pearls (B) Tahlequah, OK 2016 Texas Legacy Cheer Laredo, TX 2015 Texas Legacy Cheer Laredo, TX 2014 Raider Xtreme Raider Tots Lubbock, TX __________________________________________________________________________________________________ L1 Mini 2008 The Stingray All Stars Marietta, GA 2007 Odyssey Cheer and Athletics Arlington, TX 2006 Infinity Sports Kemah,
    [Show full text]
  • Annual Report 2008
    ® Annual Report 2008 • Revised corporate mission: To provide convenient access to 2007 media entertainment • Announced decisive steps to strengthen the core rental business, enhance the company’s retail offering, and embrace digital content delivery • Positioned BLOCKBUSTER Total Access™ into a profi table and stable business • Completed Blu-ray Disc™ kiosk installation • Launched a new and improved blockbuster.com and integrated 2008 Movielink’s 10,000+ titles into the site • Improved studio relationships, with 80% of movie studios currently committed to revenue share arrangements • Enhanced approximately 600 domestic stores • Improved in-stock availability to 60% during the fi rst week a hot new release is available on DVD • Expanded entertainment related merchandise, including licensed memorabilia • Launched “Rock the Block” Concept in Reno, Dallas and New York City • Introduced consumer electronics, games and game merchandise in approximately 4,000 domestic stores • Launched new products and services nationally, including event ticketing through alliance with Live Nation • Continued to improve product assortment among confection and snack items • Launched BLOCKBUSTER® OnDemand through alliance with 2Wire® • Announced alliance with NCR Corporation to provide DVD vending 2009 • Teamed with Sonic Solutions® to provide consumers instant access to Blockbuster’s digital movie service across extensive range of home and portable devices • Began to gradually roll-out “Choose Your Terms” nationally • Announced pilot program to include online
    [Show full text]
  • Using Artistic Markers and Speaker Identification for Narrative-Theme
    Using Artistic Markers and Speaker Identification for Narrative-Theme Navigation of Seinfeld Episodes Gerald Friedland, Luke Gottlieb, and Adam Janin International Computer Science Institute 1947 Center Street, Suite 600 Berkeley, CA 94704-1198 [fractor|luke|janin]@icsi.berkeley.edu Abstract ysis, thus completely ignoring the rich information within the video/audio medium. Even portable devices such as This article describes a system to navigate Seinfeld smartphones are sufficiently powerful for more intelligent episodes based on acoustic event detection and speaker browsing than play/pause/rewind. identification of the audio track and subsequent inference of In the following article, we present a system that ex- narrative themes based on genre-specific production rules. tends typical navigation features significantly. Based on the The system distinguishes laughter, music, and other noise idea that TV shows are already conceptually segmented by as well as speech segments. Speech segments are then iden- their producers into narrative themes (such as scenes and tified against pre-trained speaker models. Given this seg- dialog segments), we present a system that analyzes these mentation and the artistic production rules that underlie “markers” to present an advanced “narrative-theme” navi- the “situation comedy” genre and Seinfeld in particular, gation interface. We chose to stick to a particular exam- the system enables a user to browse an episode by scene, ple presented in the description of the ACM Multimedia punchline, and dialog segments. The themes can be filtered Grand Challenge [1] ; namely, the segmentation of Seinfeld by the main actors, e.g. the user can choose to see only episodes 2.
    [Show full text]
  • Integrating Video Clips Into the “Legacy Content” of the K–12 Curriculum: TV, Movies, and Youtube in the Classroom
    Integrating Video Clips into the “Legacy Content” of the K–12 Curriculum: TV, Movies, and YouTube in the Classroom Ronald A. Berk Disclaimer: This chapter is based on a presentation given at the annual Evaluation Systems Conference in Chicago. Since the content of the October 2008 presentation focused on using videos in the classrooms of the future, this chapter will not be able to capture the flavor and spirit of the actual videos shown. The audience exhibited a range of emotions, from laughter to weeping to laughter to weeping. Unfortunately, this print version will probably only bring about the weeping. Keep a box of tissues nearby. Enjoy. Using videos in teaching is not new. They date back to prehistoric times, when cave instructors used 16 mm projectors to show cave students examples of insurance company marketing commercials in business courses. Now even DVD players are history. So what’s new? There are changes in four areas: (1) the variety of video formats, (2) the ease with which the technology can facilitate their application in the classroom, (3) the number of video techniques a teacher can use, and (4) the research on multimedia learning that provides the theoretical and empirical support for their use as an effective teaching tool. A PC or Mac and a LCD projector with speakers can easily embed video clips for a PowerPoint presentation on virtually any topic. This chapter examines what we know and don’t know about videos and learning. It begins with detailed reviews of the theory and research on videos and the brain and multimedia learning.
    [Show full text]
  • 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.
    [Show full text]
  • The Id, the Ego and the Superego of the Simpsons
    Hugvísindasvið The Id, the Ego and the Superego of The Simpsons B.A. Essay Stefán Birgir Stefánsson January 2013 University of Iceland School of Humanities Department of English The Id, the Ego and the Superego of The Simpsons B.A. Essay Stefán Birgir Stefánsson Kt.: 090285-2119 Supervisor: Anna Heiða Pálsdóttir January 2013 Abstract The purpose of this essay is to explore three main characters from the popular television series The Simpsons in regards to Sigmund Freud‟s theories in psychoanalytical analysis. This exploration is done because of great interest by the author and the lack of psychoanalytical analysis found connected to The Simpsons television show. The main aim is to show that these three characters, Homer Simpson, Marge Simpson and Ned Flanders, represent Freud‟s three parts of the psyche, the id, the ego and the superego, respectively. Other Freudian terms and ideas are also discussed. Those include: the reality principle, the pleasure principle, anxiety, repression and aggression. For this analysis English translations of Sigmund Freud‟s original texts and other written sources, including psychology textbooks, and a selection of The Simpsons episodes, are used. The character study is split into three chapters, one for each character. The first chapter, which is about Homer Simpson and his controlling id, his oral character, the Oedipus complex and his relationship with his parents, is the longest due to the subchapter on the relationship between him and Marge, the id and the ego. The second chapter is on Marge Simpson, her phobia, anxiety, aggression and repression. In the third and last chapter, Ned Flanders and his superego is studied, mainly through the religious aspect of the character.
    [Show full text]
  • Programming Ideas
    Umbrella License® Programming Guide We have compiled a programming guide that will allow you to take full advantage of the wide variety of motion pictures and audiovisual works available for screening under your facility’s MPLC Umbrella License. Please be sure to review titles and MPAA rating information prior to your screening to ensure that the subject matter is appropriate for your audience. Twentieth Century Fox From the highest-grossing motion picture of all time to Hollywood classics, the Twentieth Century Fox catalogue spans decades and includes many contemporary favorites. Affiliated labels include Fox 2000 Films, Fox-Walden, Fox Look, and Fox Searchlight. • Maze Runner: The Scorch Trials (2015) (PG-13) • The Maze Runner (2014) (PG-13) • Fantastic Four (2015) (PG-13) • Fantastic 4: Rise of the Silver Surfer (2007) (PG) • Fantastic Four (2005) (PG-13) • The Book of Life (2014) (PG) • Rio 2 (2014) (G) • Rio (2011) (G) • Night at the Museum: Secret of the Tomb (2014) (PG) • Night at the Museum: Battle of the Smithsonian (2009) (PG) • Night at the Museum (2006) (PG) • Dawn of the Planet of the Apes (2014) (PG-13) • Rise of the Planet of the Apes (2011) (PG-13) • Planet of the Apes (1968) (G) • Gone Girl (2014) (R) • The Fault in Our Stars (2014) (PG-13) • Son of God (2014) (PG-13) • X-Men Days of Future Past (2014) (PG-13) • The Wolverine (2013) (PG-13) • X-Men: First Class (2011) (PG-13) • X-Men: The Last Stand (2006) (PG-13) • X2 (2003) (PG-13) • X-Men (2000) (PG-13) • 12 Years a Slave (2013) (R) • A Good Day to Die Hard (2013)
    [Show full text]
  • Extreme Makeover Home Edition Lock & Key Productions Etters Good
    2011 Extreme Makeover Home Edition Lock & Key Productions Etters Good, Better, Best - Pilot Nancy Glass Productions Philadelphia My Design Life My Design Life LLC Philadelphia region Weekends with Luis Banyan Productions Inc Philadelphia region 2010 Billy Gardell DVD Levity Entertainment Group LLC Allegheny Donald J. Trump’s Fabulous World of Golf (Season 2) The Workshop LLC Philadelphia region Drill Team Series Drill Team LLC Philadelphia Fabulous Cakes Banyan Productions LLC Philadelphia region Food Feud Pilot & Series 1 MSPT – Food Feuds LLC Philadelphia Kitchen Impossible 4 Kitchen Impossible Season Two LLC Philadelphia Kitchen Impossible 5 Extreme Poodies LLC Philadelphia Kitchen Impossible 6 Kitchen Impossible Season Two LLC Philadelphia Money Hunters Season 1 Drill Team Pilot (Nancy Glass Productions) Philadelphia Money Hunters Season 2 Drill Team Pilot (Nancy Glass Productions) Philadelphia Restaurant Impossible Pilot MSPT LLC Philadelphia Restaurant Impossible Season 1 MSPT Restaurant Impossible LLC Philadelphia Seeking Solutions with Suzanne: Exploring the Arts Kelly Ryan Productions Philadelphia region Staten Island Cakes Showhouse Special Fine Living LLC Montgomery The Best Greatest Sports Legends Steve Rotfeld Productions, Inc Philadelphia Page 1 of 11 | FilminPA.com The Haney Project – Rush Limbaugh The Workshop LLC Philadelphia Trading Spaces: Where Are They Now Banyan Productions Inc Philadelphia region Whaddyado (Season 5) Steve Rotfeld Productions, Inc Philadelphia 2009 Awesome Adventures Season 14 Steve Rotfeld Productions
    [Show full text]
  • A Supercut of Supercuts: Aesthetics, Histories, Databases
    A Supercut of Supercuts: Aesthetics, Histories, Databases PRACTICE RESEARCH MAX TOHLINE ABSTRACT CORRESPONDING AUTHOR: Max Tohline The genealogies of the supercut, which extend well past YouTube compilations, back Independent scholar, US to the 1920s and beyond, reveal it not as an aesthetic that trickled from avant-garde [email protected] experimentation into mass entertainment, but rather the material expression of a newly-ascendant mode of knowledge and power: the database episteme. KEYWORDS: editing; supercut; compilation; montage; archive; database TO CITE THIS ARTICLE: Tohline, M. 2021. A Supercut of Supercuts: Aesthetics, Histories, Databases. Open Screens, 4(1): 8, pp. 1–16. DOI: https://doi.org/10.16995/os.45 Tohline Open Screens DOI: 10.16995/os.45 2 Full Transcript: https://www.academia.edu/45172369/Tohline_A_Supercut_of_Supercuts_full_transcript. Tohline Open Screens DOI: 10.16995/os.45 3 RESEARCH STATEMENT strong patterning in supercuts focuses viewer attention toward that which repeats, stoking uncritical desire for This first inklings of this video essay came in the form that repetition, regardless of the content of the images. of a one-off blog post I wrote seven years ago (Tohline While critical analysis is certainly possible within the 2013) in response to Miklos Kiss’s work on the “narrative” form, the supercut, broadly speaking, naturally gravitates supercut (Kiss 2013). My thoughts then comprised little toward desire instead of analysis. more than a list; an attempt to add a few works to Armed with this conclusion, part two sets out to the prehistory of the supercut that I felt Kiss and other discover the various roots of the supercut with this supercut researchers or popularizers, like Tom McCormack desire-centered-ness, and other pragmatics, as a guide.
    [Show full text]
  • Red and White on the Silver Screen: the Shifting Meaning and Use of American Indians in Hollywood Films from the 1930S to the 1970S
    RED AND WHITE ON THE SILVER SCREEN: THE SHIFTING MEANING AND USE OF AMERICAN INDIANS IN HOLLYWOOD FILMS FROM THE 1930s TO THE 1970s a dissertation submitted to Kent State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy by Bryan W. Kvet May, 2016 (c) Copyright All rights reserved Except for previously published materials Dissertation Written by Bryan W. Kvet B.A., Grove City College, 1994 M.A., Kent State University, 1998 Ph.D., Kent State University, 2015 Approved by ___Kenneth Bindas_______________, Chair, Doctoral Dissertation Committee Dr. Kenneth Bindas ___Clarence Wunderlin ___________, Members, Doctoral Dissertation Committee Dr. Clarence Wunderlin ___James Seelye_________________, Dr. James Seelye ___Bob Batchelor________________, Dr. Bob Batchelor ___Paul Haridakis________________, Dr. Paul Haridakis Accepted by ___Kenneth Bindas_______________, Chair, Department of History Dr. Kenneth Bindas ___James L. Blank________________, Dean, College of Arts and Sciences Dr. James L. Blank TABLE OF CONTENTS…………………………………………………………………iv LIST OF FIGURES………………………………………………………………………v ACKNOWLEDGEMENTS……………………………………………………………...vii CHAPTERS Introduction………………………………………………………………………1 Part I: 1930 - 1945 1. "You Haven't Seen Any Indians Yet:" Hollywood's Bloodthirsty Savages……………………………………….26 2. "Don't You Realize this Is a New Empire?" Hollywood's Noble Savages……………………………………………...72 Epilogue for Part I………………………………………………………………..121 Part II: 1945 - 1960 3. "Small Warrior Should Have Father:" The Cold War Family in American Indian Films………………………...136 4. "In a Hundred Years it Might've Worked:" American Indian Films and Civil Rights………………………………....185 Epilogue for Part II……………………………………………………………….244 Part III, 1960 - 1970 5. "If Things Keep Trying to Live, the White Man Will Rub Them Out:" The American Indian Film and the Counterculture………………………260 6.
    [Show full text]
  • Intersection of Gender and Italian/Americaness
    THE INTERSECTION OF GENDER AND ITALIAN/AMERICANESS: HEGEMONY IN THE SOPRANOS by Niki Caputo Wilson A Dissertation Submitted to the Faculty of The Dorothy F. Schmidt College of Arts and Letters in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Florida Atlantic University Boca Raton, FL December 2010 ACKNOWLEDGEMENTS I could not have completed this dissertation without the guidance of my committee members, the help from my friends and colleagues, and the support of my family. I extend my deepest gratitude to my committee chair Dr. Jane Caputi for her patience, guidance, and encouragement. You are truly an inspiration. I would like to thank my committee members as well. Dr. Christine Scodari has been tireless in her willingness to read and comment on my writing, each time providing me with insightful recommendations. I am indebted to Dr Art Evans, whose vast knowledge of both The Sopranos and ethnicity provided an invaluable resource. Friends, family members, and UCEW staff have provided much needed motivation, as well as critiques of my work; in particular, I thank Marc Fedderman, Rebecca Kuhn, my Aunt Nancy Mitchell, and my mom, Janie Caputo. I want to thank my dad, Randy Caputo, and brother, Sean Caputo, who are always there to offer their help and support. My tennis friends Kathy Fernandes, Lise Orr, Rachel Kuncman, and Nicola Snoep were instrumental in giving me an escape from my writing. Mike Orr of Minuteman Press and Stefanie Gapinski of WriteRight helped me immensely—thank you! Above all, I thank my husband, Mike Wilson, and my children, Madi and Cole Wilson, who have provided me with unconditional love and support throughout this process.
    [Show full text]