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GLAAD Media Institute Began to Track LGBTQ Characters Who Have a Disability
Studio Responsibility IndexDeadline 2021 STUDIO RESPONSIBILITY INDEX 2021 From the desk of the President & CEO, Sarah Kate Ellis In 2013, GLAAD created the Studio Responsibility Index theatrical release windows and studios are testing different (SRI) to track lesbian, gay, bisexual, transgender, and release models and patterns. queer (LGBTQ) inclusion in major studio films and to drive We know for sure the immense power of the theatrical acceptance and meaningful LGBTQ inclusion. To date, experience. Data proves that audiences crave the return we’ve seen and felt the great impact our TV research has to theaters for that communal experience after more than had and its continued impact, driving creators and industry a year of isolation. Nielsen reports that 63 percent of executives to do more and better. After several years of Americans say they are “very or somewhat” eager to go issuing this study, progress presented itself with the release to a movie theater as soon as possible within three months of outstanding movies like Love, Simon, Blockers, and of COVID restrictions being lifted. May polling from movie Rocketman hitting big screens in recent years, and we remain ticket company Fandango found that 96% of 4,000 users hopeful with the announcements of upcoming queer-inclusive surveyed plan to see “multiple movies” in theaters this movies originally set for theatrical distribution in 2020 and summer with 87% listing “going to the movies” as the top beyond. But no one could have predicted the impact of the slot in their summer plans. And, an April poll from Morning COVID-19 global pandemic, and the ways it would uniquely Consult/The Hollywood Reporter found that over 50 percent disrupt and halt the theatrical distribution business these past of respondents would likely purchase a film ticket within a sixteen months. -
Trekkies Beware! Paramount Pictures V. Axanar Productions by Joel M
Thursday, March 23, 2017 LAW BUSINESS TECHNOLOGY BUSINESS TECHNOLOGY LAW TECHNOLOGY LAW BUSINESS RECORDERdaily at www.therecorder.com Trekkies Beware! Paramount Pictures v. Axanar Productions By Joel M. Grossman ovie and far and actually produce a very TV stu- professional movie funded by dios often crowdsourcing? That is the allow their question raised by the case of fans to Paramount Pictures Corp. v. Mengage in behavior which tech- Axanar Productions, Inc. The nically might violate copyright case has not been fully liti- or trademark law. For exam- gated, but the district court’s ple, the studio which owns the ruling on cross-motions for copyright to Star Wars might summary judgment is both let fans produce a short video amusing and instructive. in which fans dress up as Darth To begin with the basic facts, Vader or Princess Leia, and act plaintiff Paramount Pictures Trek films before with no law- out a scene from the film. If and CBS own the copyright to suit from Paramount, Axanar the fans post their homemade the Star Trek television shows sought to go “where no man 10 minute video on You Tube, and Paramount owns the copy- has gone before” and produce the studio probably wouldn’t right to the thirteen full-length a professional Star Trek film, mind. They might even encour- movies that followed. While with a fully professional crew, age such amateur tributes, as the copyright owners allowed many of whom worked on one they might keep interest in the fans to make their own ama- or more Star Trek productions. -
Bein MEDIA GROUP Announces Satellite Migration
General Business Use beIN MEDIA GROUP Announces Satellite Migration Doha, Qatar – 17 December 2018: beIN MEDIA GROUP, the home of sports and entertainment in the MENA region has announced that it is migrating its transponder capacity from Nilesat. This move comes as part of beIN’s commitment to providing its viewers and fans with the best possible technology and uninterrupted coverage in satellite TV broadcasting. Starting from the 15th of December until the 31st of December, beIN subscribers can watch content on all the available frequencies. After the 31st of December, subscribers will need to ensure their set top boxes are reconfigured to avoid any interruptions. beIN SPORTS channels HD1, HD2, HD3, HD4, HD2 MAX and HD3 MAX will now be available on Frequency MHz 11013. beIN SPORTS channels HD, HD5, HD6, HD7, HD8 and HD9 will be available on Frequency MHz 11054. beIN SPORTS channels beIN News, HD10, HD1 MAX and HD4 MAX will be available on Frequency MHz 12604. The switch of satellites provides an increase in platform security and control, and improved resilience overall. These efforts were made to ensure beIN MEDIA GROUP can continue to provide its viewers and fans with its unrivalled library of entertainment, live sport action and major international events in the highest standards available across all its platforms. The majority of set top boxes will be reconfigured automatically. For more information on beIN’s frequency change, please contact our call centre on: +97444222000 or visit: www.bein.net/serviceupdate. #END# General Business Use ABOUT beIN MEDIA GROUP beIN MEDIA GROUP, chaired by Nasser Al-Khelaifi, is an independent company established in 2014 with a vision to become a leading global sport and entertainment network. -
Universal Pictures Media Dossier
Universal Pictures Media Dossier For: Dr. Gregory Levey Strategic Media Relations PC8107 By: Nikolai Pajkovic 500581586 [email protected] EXECUTIVE SUMMARY The aim of this public relations campaign is to first and foremost announce and promote the release of The Hunt directed Craig Zobel and produced by Blumhouse Productions. The film will be released in theatres across North America on June 12th, 2020. Universal Pictures cancelled the film’s initial release date of September 27th, 2019 following the Dayton, El Paso, and Gilroy shootings. Therefore, a secondary objective of this campaign is to offer the public clarification for the film’s initial cancellation, as well as provide an explanation as to why this summer presents us with a more suitable release date. In doing so, our talking points, backgrounder, media release and Q&A aim to help Universal Pictures deter any unnecessary and unwarranted criticism of the film leading up to its release. I do not think that Universal Pictures should shy away from the media or from discussing the film’s potentially provocative subject matter, but when doing so should stick to our talking points. From a marketing/promotions perspective, encouraging this kind of conversation around the film will likely draw major media attention, which would possibly lead to increased box office numbers. In this dossier, a fact sheet is offered as a quick way for journalists to acquire information about the film and its release. Our talking points are intended to be used by Universal Pictures employees when dealing with the media. They aim to diminish any instances of inflammatory questioning and also look to gently reverse the narrative that The Hunt could promote violence. -
Profiling Gsociety's CEO, Paul Yates
Business Profile GSociety Media Venture Unifies and Markets Gay Life (Feature starts on the Backpage) And things have taken off. In the past A short time into the new venture, Martin year, GayWired.com’s page views have risen decided he needed someone to lead the 300 percent and its membership 160 percent. company in a new direction, to be more LesbiaNation’s page views have increased cutting edge and take more chances, he says. by 1,400 percent and its membership has That resulted in the hiring of Yates, who has grown by 211 percent. What started as a small 30 years of experience in television, radio operation in one office in Miami today has and marketing. matured into a company of about 70 people “I needed a visionary, someone who had with 3,000-square-feet of office space in done this before,” Martin said. “He told me Miami and 11,000-square-feet of office and that we needed to go in a different direction production space in Hollywood. and be a media company.” Not bad for a three-year-old company GSociety scored a major coup with in the age of piles of ruined dot-com Viacom, the parent company of Showtime, companies. which produces the hit show “Queer as Folk”. Martin previously was in the financial Viacom, which calls the show its most field before starting GSociety. Though he has successful series ever, has ordered 18 new Dan Dawson. try to be all things to all people.” been out to his parents and close friends for episodes of the American version of the “I have done a lot of promos in the past Hence the different channels: 12 years, the Arkansas native made a splash British creation. -
Netflix and Changes in the Hollywood Film Industry 넷플릭스와 할리우드
ISSN 2635-8875 / e-ISSN 2672-0124 산업융합연구 제18권 제5호 pp. 36-41, 2020 DOI : https://doi.org/10.22678/JIC.2020.18.5.036 Netflix and Changes in the Hollywood Film Industry Jeong-Suk Joo Associate Professor, Dept. of International Trade, Jungwon University 넷플릭스와 할리우드 영화산업의 변화 주정숙 중원대학교 국제통상학과 부교수 Abstract This paper aims to explore and shed light on how the rise of streaming services has been affecting the media landscape in the recent years by looking at the conflicts between the Hollywood film industry and Netflix. It especially examines Netflix’s disregard for the theatrical release, as it is the most portentous issue that could reshape the film industry, and Hollywood’s opposition to it as revealed through the 2019 Academy Awards where the issue was brought into sharp relief. At the same time, this paper also questions whether theatrical distribution makes a film any more cinematic by examining how Hollywood film production has been largely concentrated on tentpoles and franchises, while Netflix has been producing diverse films often shunned by the studios. In this light, it concludes the changes wrought by Netflix, including its bypassing of the theatrical release, are not likely to be reversed. Key Words : Netflix, Streaming service, Hollywood, Film industry, Netflix films 요 약 본 논문은 할리우드 영화산업과 넷플릭스 간 갈등의 고찰을 통해 스트리밍 서비스의 부상이 미디어 지형에 어떠한 영향을 미쳐왔는지 밝히고자 한다. 특히 영화산업의 재편을 가져올 수 있는 가장 중요한 문제로써 극장을 거치지 않고 자사 플랫폼에 영화를 공개하는 넷플릭스의 개봉방식을 살펴보고 이에 대한 반발이 크게 불거진 2019 년 아카데미 영화제를 중심으로 할리우드의 반대를 살펴본다. -
This Installation Explores the Final Girl Trope. Final Girls Are Used in Horror Movies, Most Commonly Within the Slasher Subgenre
This installation explores the final girl trope. Final girls are used in horror movies, most commonly within the slasher subgenre. The final girl archetype refers to a single surviving female after a murderer kills off the other significant characters. In my research, I focused on the five most iconic final girls, Sally Hardesty from A Texas Chainsaw Massacre, Laurie Strode from Halloween, Ellen Ripley from Alien, Nancy Thompson from A Nightmare on Elm Street and Sidney Prescott from Scream. These characters are the epitome of the archetype and with each girl, the trope evolved further into a multilayered social commentary. While the four girls following Sally added to the power of the trope, the significant majority of subsequent reproductions featured surface level final girls which took value away from the archetype as a whole. As a commentary on this devolution, I altered the plates five times, distorting the image more and more, with the fifth print being almost unrecognizable, in the same way that final girls have become. Chloe S. New Jersey Blood, Tits, and Screams: The Final Girl And Gender In Slasher Films Chloe S. Many critics would credit Hitchcock’s 1960 film Psycho with creating the genre but the golden age of slasher films did not occur until the 70s and the 80s1. As slasher movies became ubiquitous within teen movie culture, film critics began questioning why audiences, specifically young ones, would seek out the high levels of violence that characterized the genre.2 The taboo nature of violence sparked a powerful debate amongst film critics3, but the most popular, and arguably the most interesting explanation was that slasher movies gave the audience something that no other genre was able to offer: the satisfaction of unconscious psychological forces that we must repress in order to “function ‘properly’ in society”. -
New Programming Customer Movie
EVERYTHING YOU NEED FOR successful events, SIMPLY Programming Toolkit | Fall/Winter 2017 © Universal Studios Press © 2017 Disney/Pixar © Universal Studios © Paramount Pictures © Columbia Pictures Industries, Inc. New Movie Programming Customer Releases Event Ideas Ideas Spotlight NEW Releases © Warner Bros. Entertainment Inc. © Warner © 2017 Disney/Pixar © Universal Studios Despicable Me 3 Wonder Woman Cars 3 Anticipated October 2017 Anticipated September 2017 Anticipated October 2017 PG; 90 minutes; Universal Studios PG-13; 141 minutes; Warner Bros. G; 109 minutes; Walt Disney Pictures Gru battles Balthazar Bratt, a 1980s child star- An Amazon princess leaves her island home Race car Lightning McQueen suffers a severe turned-supervillain, in this animated sequel. and journeys to the outside world, which is crash while trying to compete with a younger being consumed by a massive war. With the rival named Jackson Storm. Afterward, help of an American pilot, she works to put an McQueen embraces new technologies as he end to the conflict. trains for a return to the racetrack. EVENT Idea! EVENT EVENT Promotion Idea Idea The minions are back at it again! Create Allow guests the opportunity to In this movie, legendary Lightning buzz for your movie showing by passing craft their own Tiara or Bracelets of McQueen has to prove that he still has out yellow balloons in your community that Submission. Give them the chance to what it takes to win. Foster a friendly look just like the little stars of the movie. show off their creations at a pop-up sense of competition that mimics the All you need are markers, yellow balloons, photo booth at the event. -
1. Listening 2. Reading Two Points Each
C 1 GENERAL ENGLISH EXAMINATON KEY – 14.01.2016 1. LISTENING Minor spelling mistakes are acceptable! 1.1 The Pixar Animated Film Studio 1.2 Computer Game ( from CAE Result OUP 2010) ( from CAE Gold Plus Coursebook, N.Kenny, J. Newbrook, R. Acklam, Pearson) 1. computer 2. puzzling TASK 1 TASK 2 3. 17/seventeen 9. E 14. F 4. patience 10. A 15. E 5. realistic 11. H 16. B 6. magic formula 12. G 17. D 7. message 13. B 18. G 8. jokes 2. READING 2.1 Conserving Jaguars 2.2 But will it save the planet? ( from Cambridge English Advanced Trainer Six ( from CAE Result Workbook Resource Pack, Practice Tests with answers , Felicity O'Dell K. Gude, Oxford 2008) Cambridge University Press 2010) 25. E TWOTWO POINTSMARKS EACH EACH 26. D 27./28. B/C 19. E 29. B 20. G 30. C 21. A 31. A 22. C 32. C 23. F 24. B 33./34. A/E 35. D 36. B 37. D C1 JANUARY 2016 KEY1 3. USE OF ENGLISH 3.1 The jargon jungle 3.2 Ireland ( from Recycling Advanced English, CUP 2013) ( from Cambridge English Advanced Trainer, F. O’Dell, CUP 2013) 38. what 39. where/because 48. C 40. whom 49. B 41. While/Whilst/Whereas 50. A 42. who/that 51. B 43. Provided/Providing 52. D 44. however 53. C 45. as/when/whenever 54. A 46. or 55. B 47. well 56. C 57. B 58.A 59.D 3.3 Key word transformations Two marks for each answer are awarded, divided up as shown. -
Sundancetv Channel Exclusively on Bein
General Business Use SundanceTV Channel Exclusively on beIN With 97 entertainment and sports channels on offer, beIN cements its position as a top entertainment and sports platform Doha, Qatar – 30 May 2019: beIN, the home of sports and entertainment in the MENA region has announced the addition of the world-famous SundanceTV channel to its ever-growing library of exclusive entertainment content. Originally launched as an extension to the Sundance Film Festival, the largest independent film festival in the world with over 122,000 attendees annually, SundanceTV is a leading network showcasing independent film makers, along with titles from international film festivals and other major events around the world. SundanceTV airs exclusive feature films, documentaries, short films and series, providing a platform for the best of emerging and established independent artists. Subscribers to beIN’s Entertainment, Complete and Elite packages can enjoy award-winning content from SundanceTV starting from 30 May 2019, with exciting entertainment on offer. Hit anthology series ‘The Terror’ – a 10-episode suspenseful thriller named after Dan Simmons’ bestselling book, now acquired for the Middle East and North Africa, will also premiere to beIN subscribers on SundanceTV. The critically acclaimed drama stars Jared Harris (“Mad Men”, “The Crown”), Tobias Menzies (“Outlander”) and Ciarán Hinds (“Game of Thrones”). Commenting on the addition of SundanceTV, Chief Executive Officer at beIN MEDIA GROUP Yousef Al-Obaidly said: We are delighted to announce the addition of SundanceTV to our ever- expanding entertainment offer. This is further evidence of our commitment to enhancing the entertainment offering to millions of viewers across the Middle East & North Africa. -
The Animated Roots of Wildlife Films: Animals, People
THE ANIMATED ROOTS OF WILDLIFE FILMS: ANIMALS, PEOPLE, ANIMATION AND THE ORIGIN OF WALT DISNEY’S TRUE-LIFE ADVENTURES by Robert Cruz Jr. A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Science and Natural History Filmmaking MONTANA STATE UNIVERSITY Bozeman, Montana April 2012 ©COPYRIGHT by Robert Cruz Jr. 2012 All Rights Reserved ii APPROVAL of a thesis submitted by Robert Cruz Jr. This thesis has been read by each member of the thesis committee and has been found to be satisfactory regarding content, English usage, format, citation, bibliographic style, and consistency and is ready for submission to The Graduate School. Dennis Aig Approved for the School of Film and Photography Robert Arnold Approved for The Graduate School Dr. Carl A. Fox iii STATEMENT OF PERMISSION TO USE In presenting this thesis in partial fulfillment of the requirements for a master’s degree at Montana State University, I agree that the Library shall make it available to borrowers under rules of the Library. If I have indicated my intention to copyright this thesis by including a copyright notice page, copying is allowable only for scholarly purposes, consistent with “fair use” as prescribed in the U.S. Copyright Law. Requests for permission for extended quotation from or reproduction of this thesis in whole or in parts may be granted only by the copyright holder. Robert Cruz Jr. April 2012 iv TABLE OF CONTENTS 1. INTRODUCTORY QUOTES .....................................................................................1 -
Media Ownership Rules
05-Sadler.qxd 2/3/2005 12:47 PM Page 101 5 MEDIA OWNERSHIP RULES It is the purpose of this Act, among other things, to maintain control of the United States over all the channels of interstate and foreign radio transmission, and to provide for the use of such channels, but not the ownership thereof, by persons for limited periods of time, under licenses granted by Federal author- ity, and no such license shall be construed to create any right, beyond the terms, conditions, and periods of the license. —Section 301, Communications Act of 1934 he Communications Act of 1934 reestablished the point that the public airwaves were “scarce.” They were considered a limited and precious resource and T therefore would be subject to government rules and regulations. As the Supreme Court would state in 1943,“The radio spectrum simply is not large enough to accommodate everybody. There is a fixed natural limitation upon the number of stations that can operate without interfering with one another.”1 In reality, the airwaves are infinite, but the govern- ment has made a limited number of positions available for use. In the 1930s, the broadcast industry grew steadily, and the FCC had to grapple with the issue of broadcast station ownership. The FCC felt that a diversity of viewpoints on the airwaves served the public interest and was best achieved through diversity in station ownership. Therefore, to prevent individuals or companies from controlling too many broadcast stations in one area or across the country, the FCC eventually instituted ownership rules. These rules limit how many broadcast stations a person can own in a single market or nationwide.