Cyberbullying: the Case of Public Figures
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Korean Contemporary Art
KOREAN CONTEMPORARY ART 55157__KOREAN157__KOREAN CCONTONT ART_2011-12-12.inddART_2011-12-12.indd 001001 114.12.20114.12.2011 117:10:297:10:29 UUhrhr 002 KOREAN CONTEMPORARY ART 55157__KOREAN157__KOREAN CCONTONT ART_2011-12-12.inddART_2011-12-12.indd 002002 114.12.20114.12.2011 117:10:307:10:30 UUhrhr Miki Wick Kim KOREAN CONTEMPORARY ART PRESTEL Munich · London · New York 55157__KOREAN157__KOREAN CCONTONT ART_2011-12-12.inddART_2011-12-12.indd 003003 114.12.20114.12.2011 117:10:367:10:36 UUhrhr 5157_KOREAN CONT ART_001_192.indd 004 15.12.2011 15:23:25 Uhr Contents Artists’ names are listed in the traditional order of family name fi rst, except where individuals have chosen the Western order of family name last. All family names are in capitals. Introduction 006 On the Recent Movements in Korean Contemporary Art 010 Seung Woo BACK 020 100 In Sook KIM BAE Bien-U 026 106 KIMsooja CHO Duck Hyun 032 110 Sora KIM U-Ram CHOE 036 116 KOO Jeong A. CHOI Jeong Hwa 042 122 Hyungkoo LEE CHUN Kwang-young 048 128 Minouk LIM CHUNG Suejin 054 132 MOON Beom GIMhongsok 060 138 Jiha MOON HAM Jin 064 142 Hein-kuhn OH Kyungah HAM 070 148 PARK Kiwon JEON Joonho 074 152 PARK Seo-Bo Michael JOO 078 158 Kibong RHEE Yeondoo JUNG 084 162 Jean SHIN Atta KIM 090 166 Do Ho SUH KIM Beom 096 170 YEEsookyung 174 Curriculum Vitae 190 Bibliography and Notes 5157_KOREAN CONT ART_001_192.indd 005 15.12.2011 15:23:25 Uhr Introduction I have never thought of myself as expressing Korean-ness ists at important international art destinations in the East or Asian-ness. -
Television Advertising Insights
Lockdown Highlight Tous en cuisine, M6 (France) Foreword We are delighted to present you this 27th edition of trends and to the forecasts for the years to come. TV Key Facts. All this information and more can be found on our This edition collates insights and statistics from dedi cated TV Key Facts platform www.tvkeyfacts.com. experts throughout the global Total Video industry. Use the link below to start your journey into the In this unprecedented year, we have experienced media advertising landscape. more than ever how creative, unitive, and resilient Enjoy! / TV can be. We are particularly thankful to all participants and major industry players who agreed to share their vision of media and advertising’s future especially Editors-in-chief & Communications. during these chaotic times. Carine Jean-Jean Alongside this magazine, you get exclusive access to Coraline Sainte-Beuve our database that covers 26 countries worldwide. This country-by-country analysis comprises insights for both television and digital, which details both domestic and international channels on numerous platforms. Over the course of the magazine, we hope to inform you about the pandemic’s impact on the market, where the market is heading, media’s social and environmental responsibility and all the latest innovations. Allow us to be your guide to this year’s ACCESS OUR EXCLUSIVE DATABASE ON WWW.TVKEYFACTS.COM WITH YOUR PERSONAL ACTIVATION CODE 26 countries covered. Television & Digital insights: consumption, content, adspend. Australia, Austria, Belgium, Brazil, Canada, China, Croatia, Denmark, France, Finland, Germany, Hungary, India, Italy, Ireland, Japan, Luxembourg, The Netherlands, Norway, Poland, Russia, Spain, Sweden, Switzerland, UK and the US. -
The Globalization of K-Pop: the Interplay of External and Internal Forces
THE GLOBALIZATION OF K-POP: THE INTERPLAY OF EXTERNAL AND INTERNAL FORCES Master Thesis presented by Hiu Yan Kong Furtwangen University MBA WS14/16 Matriculation Number 249536 May, 2016 Sworn Statement I hereby solemnly declare on my oath that the work presented has been carried out by me alone without any form of illicit assistance. All sources used have been fully quoted. (Signature, Date) Abstract This thesis aims to provide a comprehensive and systematic analysis about the growing popularity of Korean pop music (K-pop) worldwide in recent years. On one hand, the international expansion of K-pop can be understood as a result of the strategic planning and business execution that are created and carried out by the entertainment agencies. On the other hand, external circumstances such as the rise of social media also create a wide array of opportunities for K-pop to broaden its global appeal. The research explores the ways how the interplay between external circumstances and organizational strategies has jointly contributed to the global circulation of K-pop. The research starts with providing a general descriptive overview of K-pop. Following that, quantitative methods are applied to measure and assess the international recognition and global spread of K-pop. Next, a systematic approach is used to identify and analyze factors and forces that have important influences and implications on K-pop’s globalization. The analysis is carried out based on three levels of business environment which are macro, operating, and internal level. PEST analysis is applied to identify critical macro-environmental factors including political, economic, socio-cultural, and technological. -
Love Island Pressbook Screen.Pdf (2.1 Mib)
Synopsis Grebo and his very pregnant wife Liliane are taking a well-deserved vacation at a popular Adriatic seaside resort. All inclusive! All the sun, swimming and fun that their hearts desire. What could possibly go wrong on such an idyllic holiday? At open-mike night, Grebo seduces the resort crowd and reminds his loving French wife of the Sarajevo rocker she fell in love with. But the evening’s big surpise is the young couple’s meeting with mysterious Flora. The charismatic young woman will soon put their young marriage to the test. Past secrets cannot stay hidden for long on Love Island. Summer fun at a seaside resort and a bold look at modern relationships from Jasmila ŽbaniĆ, director of Grbavica (2006 Berlinale Golden Bear), On The Path (Na Putu) and For Those Who Can Tell No Tales. In only a few years, actress Ariane Labed has established a truly international film career, performing in Greek, French, English Main Cast and even some Croatian and Bosnian. She burst onto the scene with Greek director Athina Rachel Tsangari's Attenberg, which won her the Venice Film Festival's Best Actress Award in 2010. In addition to Bosnian director Jasmila ŽbaniĆ's Love Island, Ariane's other feature credits include US director Richard Linklater's Before Midnight, Canadian director Guy Ariane Labed Maddin's Spiritisme and French director Fabienne Godet's Une Place Sur La Terre. Ariane played a determined gymnast in as Liliane Yorgos Lanthimos' ALPS and she will soon be seen in that Greek director's upcoming English-language feature The Lobster. -
Parliamentary Debates House of Commons Official Report General Committees
PARLIAMENTARY DEBATES HOUSE OF COMMONS OFFICIAL REPORT GENERAL COMMITTEES Public Bill Committee DOMESTIC ABUSE BILL First Sitting Thursday 4 June 2020 (Morning) CONTENTS Programme motion agreed to. Written evidence (Reporting to the House) motion agreed to. Motion to sit in private agreed to. Examination of witnesses. Adjourned till this day at Two o’clock. PBC (Bill 96) 2019 - 2021 No proofs can be supplied. Corrections that Members suggest for the final version of the report should be clearly marked in a copy of the report—not telephoned—and must be received in the Editor’s Room, House of Commons, not later than Monday 8 June 2020 © Parliamentary Copyright House of Commons 2020 This publication may be reproduced under the terms of the Open Parliament licence, which is published at www.parliament.uk/site-information/copyright/. 1 Public Bill Committee 4 JUNE 2020 Domestic Abuse Bill 2 The Committee consisted of the following Members: Chairs: †MR PETER BONE,MS KAREN BUCK † Aiken, Nickie (Cities of London and Westminster) † Harris, Rebecca (Lord Commissioner of Her (Con) Majesty’s Treasury) † Atkins, Victoria (Parliamentary Under-Secretary of † Jardine, Christine (Edinburgh West) (LD) State for the Home Department) † Jones, Fay (Brecon and Radnorshire) (Con) † Kyle, Peter (Hove) (Lab) † Bowie, Andrew (West Aberdeenshire and Kincardine) † Marson, Julie (Hertford and Stortford) (Con) (Con) † Phillips, Jess (Birmingham, Yardley) (Lab) † Chalk, Alex (Parliamentary Under-Secretary of State † Saville Roberts, Liz (Dwyfor Meirionnydd) (PC) for -
Caroline Flack Headline Corpus
Caroline Flack Headline Corpus Date Headline Subheading Source URL 1. 30.11.07 Caroline Flack - She's not your Since drinks with Amy Winehouse, Daily Mail https://www.mailonsunday.co. typical childrens' television parties with Pete Dohery and dates the uk/home/moslive/article- presenter drummer from a hip indie band. So 498734/Caroline-Flack-- what is Caroline Flack doing on Shes-typical-childrens- Saturday morning TV? television-presenter.html 2. 13.07.08 I'm A Celebrity, Get Me Out Of The I'm A Celebrity Get Me Out Of Maxim https://web.archive.org/web/2 These Clothes! Here! Now host did a shoot with us 0110716134938/http://www. maxim.co.uk/girls/celebrity/13 when she was an up-and-coming 908/caroline_flack.html presenter. Flacking-hell indeed! 3. 13.12.11 Caroline Flack Teased About Harry The Xtra Factor co-host was mocked Capital FM https://www.capitalfm.com/art Styles Kiss On Never Mind The for her reported romantic tryst with the ists/one-direction/news/harry- Buzzcocks teen pop star. styles-never-mind-the- buzzcocks/ 4. 27.01.12 One Direction's Harry Styles and One Direction singer Harry Styles has BBC Newsbeat http://www.bbc.co.uk/newsbe Caroline Flack break up confirmed he has split from TV at/article/16754845/one- presenter Caroline Flack. directions-harry-styles-and- caroline-flack-break-up 5. 25.03.13 Caroline Flack will return to Xtra And with Olly Murs busy on his tour, will Mirror https://www.mirror.co.uk/3am/ Factor after Simon Cowell tells her last year's contestant Rylan Clark be caroline-flack-return-xtra- the job is still hers factor-1779888 her new co-host? 6. -
Between Hybridity and Hegemony in K-Pop's Global Popularity
International Journal of Communication 11(2017), 2367–2386 1932–8036/20170005 Between Hybridity and Hegemony in K-Pop’s Global Popularity: A Case of Girls’ Generation’s American Debut GOOYONG KIM1 Cheyney University of Pennsylvania, USA Examining the sociocultural implications of Korean popular music (K-pop) idol group Girls’ Generation’s (SNSD’s) debut on Late Show With David Letterman, this article discusses how the debut warrants a critical examination on K-pop’s global popularity. Investigating critically how the current literature on K-pop’s success focuses on cultural hybridity, this article maintains that SNSD’s debut clarifies how K-pop’s hybridity does not mean dialectical interactions between American form and Korean content. Furthermore, this article argues that cultural hegemony as a constitutive result of sociohistorical and politico- economic arrangements provides a better heuristic tool, and K-pop should be understood as a part of the hegemony of American pop and neoliberalism. Keywords: Korean popular music, cultural hybridity, cultural hegemony, neoliberalism As one of the most sought-after Korean popular music (K-pop) groups, Girls’ Generation’s (SNSD’s) January 2012 debut on two major network television talk shows in the United States warrants critical reconsideration of the current discourse on cultural hybridity as the basis of K-pop’s global popularity. Prior to Psy’s “Gangnam Style” phenomenon, SNSD’s “The Boys” was the first time a Korean group appeared on an American talk show. It marks a new stage in K-pop’s global reach and influence. With a surge of other K- pop idols gaining global fame, especially in Japan, China, and other Asian countries, SNSD’s U.S. -
Love Island Boss Defends the Lack of Body Diversity: ʻwe Want People To
It doesn’t matter if your eggs are in the for or Does Love Island have a race problem? against basket, one thing is for certain, you’ve heard of Love Island. Every day for 8 long summer weeks, Every year, Love Island's black contestants have been the millions of people tune in to watch a group of last to get picked during the first coupling ceremony. strangers ‘fall in love’ and face daily challenges and This year’s first episode was no different with the show's games. This year, Love Island has had more viewers only black contestants Sherif, Yewande and Michael than ever at 4.2million which only increases the being picked last. Whether they do it consciously or not, amount of equality and diversity related questions Islanders have shown being asked. So we feel that we should discuss their underlying trends these! when it comes to their romantic "preferences" yet again this series. Love Island boss defends the lack of Many viewers have set body diversity: ‘We want people to be to social media to discuss what the attracted to each other’. British media see as ‘attractive’ and debates have broken out stating that the ITV bosses have said the reason Love Island lacks body popular culture industry still see white individuals to be diversity is because they want the contestants “to be more ‘beautiful’ than black and that this has an effect on attracted to one another”. our society. This is called institutionalised racism. The reality TV series has been severely criticised for not Dating app trends show that ethnic minorities are often casting contestants with a range of body types and, when discarded as romantic options. -
Interim Report January to June 2020 (Pdf, 8.83
INTERIM REPORT J ANUARY TO JUNE 2020 ENTERTAIN. INFORM. ENGAGE. ’ S THREE-PRIORITY “ RTL GROUP STRATEGY – CORE, GROWTH,.” ALLIANCES & PARTNERSHIPS – REMAINS“RTL Group UNCHANGED reacted promptly to the worldwide spread of the coronavirus disease by focusing on four areas: the safety of our employees, the continuity of our businesses, liquidity, and cost and cash flow management. As expected, our largest revenue stream – TV advertising – declined strongly in the second quarter of 2020, but we succeeded in offsetting 50 per cent of the revenue decline. We did so without cutting into the substance of our businesses or reducing investments in our streaming services, which is reflected in gains in market shares and a significant growth in paying subscribers for our streaming services. This demonstrates the resilience of our businesses, and the strength of our management teams. Our broadcasters and Fremantle restarted productions across all genres to offer our viewers fresh and exclusive content. Despite the economic uncertainty, RTL Group’s three-priority strategy – core, growth, alliances & partnerships – remains unchanged. We maintain our mid-term targets for the streaming services TV Now in Germany and Videoland in the Netherlands to grow their total number of paying subscribers to between 5 and 7 million, to grow streaming revenue to at least € 500 million and to break even by 2025. The growth in paying subscribers and streaming revenue in the first half of 2020 is in line with the ‘boost’ plans we presented in March.” Thomas RABE CHIEF -