Couples Portrayed in Prime-Time Television Series
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Telling Stories with Soundtracks: an Empirical Analysis of Music in Film
Telling Stories with Soundtracks: An Empirical Analysis of Music in Film Jon Gillick David Bamman School of Information School of Information University of California, Berkeley University of California, Berkeley [email protected] [email protected] Abstract (Guha et al., 2015; Kociskˇ y` et al., 2017), natural language understanding (Frermann et al., 2017), Soundtracks play an important role in carry- ing the story of a film. In this work, we col- summarization (Gorinski and Lapata, 2015) and lect a corpus of movies and television shows image captioning (Zhu et al., 2015; Rohrbach matched with subtitles and soundtracks and et al., 2015, 2017; Tapaswi et al., 2015), the analyze the relationship between story, song, modalities examined are almost exclusively lim- and audience reception. We look at the con- ited to text and image. In this work, we present tent of a film through the lens of its latent top- a new perspective on multimodal storytelling by ics and at the content of a song through de- focusing on a so-far neglected aspect of narrative: scriptors of its musical attributes. In two ex- the role of music. periments, we find first that individual topics are strongly associated with musical attributes, We focus specifically on the ways in which 1 and second, that musical attributes of sound- soundtracks contribute to films, presenting a first tracks are predictive of film ratings, even after look from a computational modeling perspective controlling for topic and genre. into soundtracks as storytelling devices. By devel- oping models that connect films with musical pa- 1 Introduction rameters of soundtracks, we can gain insight into The medium of film is often taken to be a canon- musical choices both past and future. -
Courting Trouble: a Qualitative Examination of Sexual Inequality in Partnering Practice
Courting Trouble: a Qualitative Examination of Sexual Inequality in Partnering Practice The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:40046518 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Courting Trouble: A Qualitative Examination of Sexual Inequality in Partnering Practice A dissertation presented by Holly Wood To The Harvard University Department of Sociology In partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of Sociology Harvard University Cambridge, Massachusetts May, 2017 © Copyright by Holly Wood 2017 All Rights Reserved Dissertation Advisor: Professor Jocelyn Viterna Holly Wood Courting Trouble: A Qualitative Examination of Sexual Inequality in Partnering Practice Abstract Sociology recognizes marriage and family formation as two consequential events in an adult’s lifecourse. But as young people spend more of their lives childless and unpartnered, scholars recognize a dearth of academic insight into the processes by which single adults form romantic relationships in the lengthening years between adolescence and betrothal. As the average age of first marriage creeps upwards, this lacuna inhibits sociological appreciation for the ways in which class, gender and sexuality entangle in the lives of single adults to condition sexual behavior and how these behaviors might, in turn, contribute to the reproduction of social inequality. -
Search on the Cloud File System
SEARCH ON THE CLOUD FILE SYSTEM Rodrigo Savage1, Dulce Tania Nava1, Norma Elva Chávez1, Norma Saiph Savage2 Facultad de Ingeniería, Departamento de Computación, Universidad Nacional Autónoma de México (UNAM) , Mexico1 Computer Science Department, University of California, Santa Barbara,USA2 {rodrigosavage, opheliac}@comunidad.unam.mx, [email protected], [email protected] ABSTRACT Research in peer-to-peer file sharing systems has focused 1. Introduction on tackling the design constraints encountered in distributed systems, while little attention has been devoted Distributed systems are a collection of autonomous to the user experience: these systems always assume the computers connected through a network. A distributed user knows the public key of the file they are searching. system permits the computers to share resources and Yet average users rarely even apprehend that file public activities, allowing the end user to perceive the system as keys exist. File sharing systems which do consider the a powerful single computing machine. Peer-to-peer user experience and allow users to search for files by their systems are a particular type of distributed systems, where name, generally present centralized control and they all computers, also known as nodes, present identical show several severe vulnerabilities, that make the system responsibilities and capabilities. Peer-to-peer systems unreliable and insecure. The purpose of this investigation have many advantages over traditional centralized is to design a more complete distributed file sharing systems: they present better availability, scalability, fault system that is not only trustable, scalable and secure, tolerance, lower maintenance costs as well as lower but also leverages the user's cognitive workload. -
The Work of the Critic
CHAPTER 1 The Work of the Critic Oh, gentle lady, do not put me to’t. For I am nothing if not critical. —Iago to Desdemona (Shakespeare, Othello, Act 2, Scene I) INTRODUCTION What is the advantage of knowing how to perform television criticism if you are not going to be a professional television critic? The advantage to you as a television viewer is that you will not only be able to make informed judgment about the television programs you watch, but also you will better understand your reaction and the reactions of others who share the experience of watching. Critical acuity enables you to move from casual enjoyment of a television program to a fuller and richer understanding. A viewer who does not possess critical viewing skills may enjoy watching a television program and experience various responses to it, such as laughter, relief, fright, shock, tension, or relaxation. These are fun- damental sensations that people may get from watching television, and, for the most part, viewers who are not critics remain at this level. Critical awareness, however, enables you to move to a higher level that illuminates production practices and enhances your under- standing of culture, human nature, and interpretation. Students studying television production with ambitions to write, direct, edit, produce, and/or become camera operators will find knowledge of television criticism necessary and useful as well. Television criticism is about the evaluation of content, its context, organiza- tion, story and characterization, style, genre, and audience desire. Knowledge of these concepts is the foundation of successful production. THE ENDS OF CRITICISM Just as critics of books evaluate works of fiction and nonfiction by holding them to estab- lished standards, television critics utilize methodology and theory to comprehend, analyze, interpret, and evaluate television programs. -
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. -
David Silberberg San Francisco Bay Area Location Sound Mixer, Analogue Audio Restorer, FCP Editor, and Film-Maker
1 David Silberberg San Francisco Bay Area Location Sound Mixer, Analogue Audio Restorer, FCP Editor, and Film-maker P.O. Box 725 El Cerrito, CA 94530 (510) 847-5954 •Recording sound tracks for film and television professionally since 1989, from hand-held rough and ready documentaries to complex multicam, multitrack productions. Over 20 years experience on all kinds of documentaries, narratives, network and cable television, indie and corporate productions. Final Cut Pro Editor and award winning film-maker (for Wild Wheels and Oh My God! Itʼs Harrod Blank! ) • Recording Equipment Package Boom Mics: 3 Schoeps mics with hypercardiod capsules, Senneheiser MK-70 long shotgun mic, Schoeps bidirectional MS stereo recording, Assorted booms and windscreens Wireless Mics: 2 Lectrosonics 411 systems, 4 Lectrosonics 195D uhf diversity systems Sanken COS-11 Lavs & Sonotrim Lavs Also handheld transmitters for use with handheld mics. Mixers: Cooper CS104 mixer 4 channel: audio quality is better than excellent. Mid-Side stereo capable, as well as prefader outs—for 4 channel discreet recordings Wendt X4 MIXER : 4 channel field mixer. A standard of the broadcast industry Recorders: Sound Devices 788t HD recorder- a powerful 8 track portable recorder with SMPTE time code and CL8 controller for doing camera mixes. Edirol R-09 handheld, HHB Portadat with Time Code, Nagra 4.2, 1/4ʼʼ mono recorder, Multi-Track Recording: Using Boom Recorder software, Motu interfaces, a fast MacBook Core 2 Duo laptop, and a G-tech hard drive Iʼm now capable of recording 16 channels at 48K, 24bit—with 1 track reserved for time code. The system is clocked to the 788 t ʻs SMPTE time code output, which also records 8 more tracks and I can record a 2 channel mix on dat tape as a back-up. -
Black Masculinity and White-Cast Sitcoms Unraveling Stereotypes in New Girl
Black masculinity and White-cast Sitcoms Unraveling stereotypes in New Girl Marie Zafimehy Supervisor: Alma Persson, Gender Studies, LiU Master’s Programme Gender Studies – Intersectionality and Change Master’s thesis 15 ECTS credits ISRN: LIU-TEMA G/GSIC1-A—19/015-SE Marie Zafimehy 2 Master thesis - Gender, Intersectionality and Change ABSTRACT For decades, situational comedies — commonly named “sitcoms” — have been racially segregated on TV between Black-cast sitcoms and White-cast sitcoms. Extensive research has been led about representation of Black and White masculinities in this segregated context. This master thesis studies what happens when White and Black males are equally casted as main characters in contemporary sitcoms by offering a case-study of the 2011 sitcom New Girl (2011-2017). How is Black masculinity represented in New Girl, and in which ways does it intersect with contemporary societal issues (e.g. racial profiling, Black Lives Matter movement)? This case-study uses tools, methodologies and concepts, drawn from Black and Intersectional feminism as well as Feminist media studies. Based on a 25 episodes sample of the show, it implements Ronald Jackson’s traditional stereotypes classification and “Black masculine identity theory” (Jackson, 2006) to study representations of Black masculinity in New Girl, through its two main Black male characters, Winston and Coach. Given that representations of minorities in popular culture reflect and influence our contemporary society, the results offer new insights about how sitcoms, series and pop- culture productions in general can challenge traditional stereotypes and display a more progressive Black masculinity. Key words: Black feminism, Feminist media studies, Men and masculinities, Representation, New Girl, Sitcoms Marie Zafimehy 3 Master thesis - Gender, Intersectionality and Change ACKNOWLEDGEMENTS Thank you to Johanna Hägg and Sebastian Ingels who successively shared their Netflix access codes with me. -
Limitations on Copyright Protection for Format Ideas in Reality Television Programming
For exclusive use of MLRC members and other parties specifically authorized by MLRC. © Media Law Resource Center, Inc. LIMITATIONS ON COPYRIGHT PROTECTION FOR FORMAT IDEAS IN REALITY TELEVISION PROGRAMMING By Kent R. Raygor and Edwin Komen* * Kent R. Raygor and Edwin Komen are partners in the Entertainment, Media, and Technology Group in the Century City, California and Washington, D.C. offices, respectively, of Sheppard Mullin Richter & Hampton LLP. The authors thank Ben Aigboboh, an associate in the Century City office, for his assistance with this article. 97 For exclusive use of MLRC members and other parties specifically authorized by MLRC. © Media Law Resource Center, Inc. LIMITATIONS ON COPYRIGHT PROTECTION FOR FORMAT IDEAS IN REALITY TELEVISION PROGRAMMING I. INTRODUCTION Television networks constantly compete to find and produce the next big hit. The shifting economic landscape forged by increasing competition between and among ever-proliferating media platforms, however, places extreme pressure on network profit margins. Fully scripted hour-long dramas and half-hour comedies have become increasingly costly, while delivering diminishing ratings in the key demographics most valued by advertisers. It therefore is not surprising that the reality television genre has become a staple of network schedules. New reality shows are churned out each season.1 The main appeal, of course, is that they are cheap to make and addictive to watch. Networks are able to take ordinary people and create a show without having to pay “A-list” actor salaries and hire teams of writers.2 Many of the most popular programs are unscripted, meaning lower cost for higher ratings. Even where the ratings are flat, such shows are capable of generating higher profit margins through advertising directed to large groups of more readily targeted viewers. -
Mixed Reality Technologies for Immersive Interactive Broadcast
MIXED REALITY TECHNOLOGIES FOR IMMERSIVE INTERACTIVE BROADCAST O. Schreer1, W. Waizenegger1, W. Fernando2, H. Kodikara Arachchi2, A. Oehme3, A. Smolic4, B. Yargicoglu5, A. Akman5, U. Curjel6 1Fraunhofer HHI, Germany; 2University of Surrey, UK; 3HFC Human- Factors-Consult, Germany; 4Disney Research Zurich, Switzerland; 5Argela, Turkey; 6SRF, Switzerland ABSTRACT Up until now, TV has been a one-to-many proposition apart from a few exceptions. The TV Stations produced and packaged their shows and the consumers had to tune in at a specific time to watch their favourite show. However, new technologies are changing the way we watch and produce television programs. For example, viewers often use second screen applications and are engaged in lively discussions via social media channels while watching TV. Nevertheless, immediate live interaction with broadcast media is still not possible. In this paper, the latest results of the European funded project ACTION-TV, which is developing novel forms of user interaction based on advanced Computer Vision and Mixed-Reality technologies, are presented. The aim of this research project is to let viewers actively participate in pre-produced live-action television shows. This expands the horizon of the interactive television concept towards engaging television shows. The paper explains the concept, challenges and solutions resulting in a first prototype real-time demonstrator for novel interactive TV services. INTRODUCTION ACTION-TV [1] proposes an innovative mode of user interaction for broadcasting to relax the rigid and passive nature of present broadcasting ecosystems. It has two key aims: (i) a group of users can take part in TV shows providing a sense of immersion into the show and seamless natural engagement with the content; (ii) users are encouraged to use TV shows as a means of social engagement while keeping themselves and their talents more visible across social circles. -
Developments in Television Viewership
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2016 Developments in Television Viewership Lucile E. Hecht Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/730 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] DEVELOPMENTS IN TELEVISION VIEWERSHIP by LUCILE E. HECHT A masters’ thesis submitted to the Graduate Faculty in Liberal Studies in partial fulfillment of the requirements for the degree of Master of Arts, The City University of New York 2016 © 2016 LUCILE E. HECHT All Rights Reserved ii DEVELOPMENTS IN TELVISION VIEWERSHIP by LUCILE E. HECHT This manuscript has been read and accepted for the Graduate Faculty in Liberal Studies satisfying the thesis requirement for the degree of Master of Arts. Giancarlo Lombardi ___________________ ______________________________ Date Thesis Adviser Matthew Gold ___________________ ______________________________ Date Executive Officer THE CITY UNIVERSITY OF NEW YORK iii Abstract DEVELOPMENTS IN TELEVISION VIEWERSHIP by Lucile E. Hecht Adviser: Professor Giancarlo Lombardi In recent years the ways in which we watch television has changed, and so has the television we watch. “Binge watching,” almost the Oxford English Dictionary’s Word of the Year in 2013, has taken a firm hold on the American television audience who now watches television not according to the broadcast schedule but on its own terms. So, too, has the practice of engaging with other audience members, be they friends, family, or strangers, while watching a show by using a secondary device – a “second screen.” These practices have been developing for some time, and as technology adapts to facilitate them the denizens of television viewers now consider them normal. -
The New Girl Pdf, Epub, Ebook
THE NEW GIRL PDF, EPUB, EBOOK Madonna,Jeffrey Fulvimari | 123 pages | 13 Sep 2007 | Penguin Putnam Inc | 9780142408841 | English | New York, NY, United States The New Girl PDF Book Retrieved April 8, Archived from the original on October 27, As part of her postconcussion TV marathon, she revisited an old favorite, Buffy the Vampire Slayer —appropriate for someone who loves teen-girl culture. Retrieved September 28, On a personal front, this handsome actor remarried in and continues to raise his two kids from his previous partner. Go to the content Go to the footer Close Worldwide icon-chevron-right Worldwide. Cancel Resend Email. Retrieved March 30, Retrieved November 16, Everything from the instructions to the logo seems crafted to promote hope and optimism in the user. Peter Sobczynski. Tristram Shapeero. I'd like to see people who invent the greatest games of our time— World of Warcraft, Super Mario, Angry Birds—turn to this field. Wayans' surprise disappearance left many a Coach fan pondering not only why the character didn't return for the series premiere, but why the character was not recast, and instead simply replaced. We just have to be there for each other. He would have to put money in this jar every time he said or did something that was offensive or particularly "douchebag-y". Retrieved February 24, Retrieved January 27, Jay Chandrasekhar. Retrieved February 17, Worst Superhero Movies. Laure Gardette Film Editor. Reginald Hudlin. Cinemark Coming Soon. Archived from the original on January 2, Share Share Tweet Email 0. Its goal: creating games "powered by the science of positive emotions. -
A Publication of Girl Scouts of Greater Los Angeles Contents
A PUBLICATION OF GIRL SCOUTS OF GREATER LOS ANGELES CONTENTS YES, WE ARE 4 STRONGER TOGETHER Sisterhood in an encouraging environment. That’s the Girl Scout formula for strong women leaders of tomorrow. 6 FROM THE CLASSROOM TO THE CAMPFIRE Partnerships with local organizations are broadening horizons in vulnerable communities. 8 THE G.I.R.L. AGENDA Civic action is a big part of leadership. Our girls are mobilizing and leading positive change. 10 YOUTH HELPING YOUTH Two Gold Award Girl Scouts share the community projects that earned them Girl Scouts' highest honor. 12 THRIVING ON ADVENTURE Girl Scout troops seek adventure in primitive camping and mountain climbing. 14 NEW BADGES BRIDGE THE STE(A)M GAP GSUSA has introduced more STE(A)M- related badges and we’re here for it! 16 A YEAR OF EXPANSION We are building the future of Girl Scouts 18 HERE FOR HER with increased community presence and Check out the stories of three amazing Girl plans for Camp Lakota. Scout volunteers who are inspiring girls to be their best. 22 THE G.I.R.L. FUND Staffer Adriana Lopez introduces us to the G.I.R.L. Fund and ways our members are getting behind philanthropy at GSGLA. 2 YES, WE ARE MAGAZINE Dear Girl Scouts, Families, and Friends, We are very excited to bring you the inaugural edition of Yes, We Are—GSGLA’s newest publication about the positive impact our Movement and our Girl Scouts are making on the diverse communities of Greater Los Angeles and beyond. As members of the preeminent leadership organization for girls, Girl Scouts truly learn what it means to make a difference, while cultivating the values of a G.I.R.L.