The Dynamics of the Media and Content Industries: a Synthesis
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2020 Writing09.11Metodichkareview
МІНІСТЕРСТВО ОСВІТИ І НАУКИ УКРАЇНИ ДЗ «ПІВДЕННОУКРАЇНСЬКИЙ НАЦІОНАЛЬНИЙ УНІВЕРСИТЕТ імені К. Д. Ушинського» Кафедра германської філології та методики викладання іноземних мов Т. Є. Єременко, О. О. Негрівода, Г. А. Слободянюк Writing in English. A Book of Practice Методичні рекомендації для самостійної роботи студентів молодших курсів Одеса, 2020 1 Рекомендовано Вченою радою ДЗ «Південноукраїнський національний педагогічний університет ім. К. Д. Ушинського» (протокол №4 від 26 грудня 2020 р.) Т.Є. Єременко, О.О. Негрівода, Г.А. Слободянюк Методичні рекомендації “Writing in English. A Book of Practice”. Одеса, 2020. – 92 с. Рецензенти: доктор педагогічних наук, професор О.В. Попова кандидат педагогічних наук, доцент Л.В. Першина Методичні рекомендації для самостійної роботи студентів молодших курсів факультету іноземних мов закладів вищої освіти містять практичні завдання з написання таких типів текстів як: дискурсивний нарис, відгук, біографія, оповідання, резюме та ін. Запропоновані вправи спрямовані на розвиток навичок писемного мовлення. 2 CONTENTS Preface………………………………………………………….…...………….. 4 Discursive Essay…………….………………………………………………….. 5 Opinion Essay……………………………………………..…………………….. 11 Argumentative Essay (Essay: for and against) …………………………………. 20 Review………………………………………………………………………….. 25 Curriculum Vitae (CV)………………………………………………………….. 32 Descriptive writing………………………………………………………………. 38 Narratives - Stories ……………………………………………………………... 48 Summary ………………………………………………………………………... 55 Literature ……………………………………………………………………… 63 Appendix A 64 Appendix -
Hollywood, Urban Primitivism, and St. Louis Blues, 1929-1937
An Excursion into the Lower Depths: Hollywood, Urban Primitivism, and St. Louis Blues, 1929-1937 Peter Stanfield Cinema Journal, 41, Number 2, Winter 2002, pp. 84-108 (Article) Published by University of Texas Press DOI: 10.1353/cj.2002.0004 For additional information about this article http://muse.jhu.edu/journals/cj/summary/v041/41.2stanfield.html Access Provided by Amherst College at 09/03/11 7:59PM GMT An Excursion into the Lower Depths: Hollywood, Urban Primitivism, and St. Louis Blues, 1929–1937 by Peter Stanfield This essay considers how Hollywood presented the song St. Louis Blues in a num- ber of movies during the early to mid-1930s. It argues that the tune’s history and accumulated use in films enabled Hollywood to employ it in an increasingly com- plex manner to evoke essential questions about female sexuality, class, and race. Recent critical writing on American cinema has focused attention on the struc- tures of racial coding of gender and on the ways in which moral transgressions are routinely characterized as “black.” As Eric Lott points out in his analysis of race and film noir: “Raced metaphors in popular life are as indispensable and invisible as the colored bodies who give rise to and move in the shadows of those usages.” Lott aims to “enlarge the frame” of work conducted by Toni Morrison and Ken- neth Warren on how “racial tropes and the presence of African Americans have shaped the sense and structure of American cultural products that seem to have nothing to do with race.”1 Specifically, Lott builds on Manthia D iawara’s argument that “film is noir if it puts into play light and dark in order to exhibit a people who become ‘black’ because of their ‘shady’ moral behaviour.2 E. -
Technical Annex A: Purposes, Values and Scope November 2015
BBC Trust Response to the Department for Culture, Media and Sport’s Charter Review consultation Technical Annex A: Purposes, Values and Scope November 2015 Getting the best out of the BBC for licence fee payers BBC Trust Technical Annex A: Purposes, Values and Scope November 2015 BBC Trust Technical Annex A: Purposes, Values and Scope Contents Scope 1 Range of services and programmes 1 Opinions on what the BBC should do more of 6 Opinions on what the BBC should do less of 8 Universality 10 Mission 12 Purposes 20 Providing news and information to help people understand the world around them 21 Supporting education and learning 23 Reflecting and representing the whole UK population 27 Showing the most creative ideas and highest quality content 34 Growing the creative industries and promoting the UK abroad 35 Role of Technology 39 VALUES 44 November 2015 BBC Trust Technical Annex A: Purposes, Values and Scope Scope Range of services and programmes 1. In the quantitative research, as independently conducted and analysed by ICM Unlimited, respondents were asked about the range of services and programmes (see Figure 1 below). The public were in broad agreement that the BBC should provide more rather than less (56% compared to 7%1). Over a third believed that the range of services and programmes at the BBC is about right (37%). Figure 1: Quantitative research - Balance of services and programmes 2. The desire for the BBC to provide more services and content was especially strong among young people aged 16-34 (66%) and ethnic minorities (65%, compared to 55% among white people). -
Critiques / Bulworth / Fear and Loathing in Las Vegas / Feux D’Artifices / the Last Days of Disco / Le Septième Ciel / Wild Man Blues]
Document generated on 09/27/2021 9:20 p.m. Ciné-Bulles Le cinéma d’auteur avant tout Critiques Bulworth Fear and Loathing in Las Vegas Feux d’artifices The Last Days of Disco le Septième Ciel Wild Man Blues Paul Beaucage, Charles-Stéphane Roy and Jean Beaulieu Volume 17, Number 2, Summer 1998 URI: https://id.erudit.org/iderudit/34365ac See table of contents Publisher(s) Association des cinémas parallèles du Québec ISSN 0820-8921 (print) 1923-3221 (digital) Explore this journal Cite this review Beaucage, P., Roy, C.-S. & Beaulieu, J. (1998). Review of [Critiques / Bulworth / Fear and Loathing in Las Vegas / Feux d’artifices / The Last Days of Disco / le Septième Ciel / Wild Man Blues]. Ciné-Bulles, 17(2), 48–56. Tous droits réservés © Association des cinémas parallèles du Québec, 1998 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ Critiques BULWORTH de Jay Bulworth (Warren Beatty), un sénateur dé de Warren Beatty mocrate qui, las des mensonges et de la corruption politiques, décide d'avouer la vérité (si âpre soit- elle) à ses électeurs. À quoi doit-on attribuer sa sou par Paul Beaucage daine volte-face? Mystère. -
Grammar for English Language Teachers
Grammar for English Language Teachers Second edition Martin Parrott ~CAMBRIDGE ~ UNIVERSITY PRESS PUBLISHED BY THE PRESS SYNDICATE OF THE UNIVERSITY OF CAMBRIDGE The Pitt Building, TrumpingtonStreet, Cambridge,United Kingdom CAMBRIDGE UNIVERSITY PRESS The Edinburgh Building, CambridgeCB2 2RU. UK 40 West 20th Street, New York, NY 10011-4211, USA 477 Williamstown Road. Port Melbourne, VIC 3207,Australia Ruiz de Alarcon 13, 28014 Madrid, Spain Dock House, The Waterfront. Cape Town 8001, South Africa http://www.cambridge.org © Cambridge UniversityPress 2000 Copyright The law allows a reader to make a single copy of part of a book for the purposes of private study. It does not allow the copying of entire books or the making of multiple copies of extracts. Written permissionfor any such copying must always be obtained from the publisher in advance. First published 2000 Eighth printing 2004 Printed in the United Kingdom at the UniversityPress , Cambridge Typesetin 10.25\ 13pt Utopia [cE] A cataloguerecord for this book is availablefrom the British Library ISBN O 521 477972 paperback ISBN O 521 472164 hardback cover design by Mark Diaper Contents Thanks v Acknowledgments v Introduction 1 PART A Words Introduction to Part A 6 1 Nouns 9 2 Articles 25 3 Quantifiers 36 4 Adjectives 51 5 Adverbs 61 6 Comparatives and superlatives 79 7 Prepositions 94 8 Verbs (introduction) 106 9 Combining words 124 PART B More about verbs and related forms Introduction to Part B 138 10 Multiword verbs and verbal expressions 140 11 Modal verbs 152 12 . Infinitive and-ingforms -
CONSTRUCTING TIN PAN ALLEY 17 M01 GARO3788 05 SE C01.Qxd 5/26/10 4:35 PM Page 18
M01_GARO3788_05_SE_C01.qxd 5/26/10 4:35 PM Page 15 Constructing Tin Pan 1 Alley: From Minstrelsy to Mass Culture The institution of slavery has been such a defining feature of U.S. history that it is hardly surprising to find the roots of our popular music embedded in this tortured legacy. Indeed, the first indige- nous U.S. popular music to capture the imagination of a broad public, at home and abroad, was blackface minstrelsy, a cultural form involving mostly Northern whites in blackened faces, parodying their perceptions of African American culture. Minstrelsy appeared at a time when songwriting and music publishing were dispersed throughout the country and sound record- The institution of slavery has been ing had not yet been invented. During this period, there was an such a defining feature of U.S. history that it is hardly surprising to find the important geographical pattern in the way music circulated. Concert roots of our popular music embedded music by foreign composers intended for elite U.S. audiences gener- in this tortured legacy. ally played in New York City first and then in other major cities. In contrast, domestic popular music, including minstrel music, was first tested in smaller towns, then went to larger urban areas, and entered New York only after success elsewhere. Songwriting and music publishing were similarly dispersed. New York did not become the nerve center for indigenous popular music until later in the nineteenth century, when the pre- viously scattered conglomeration of songwriters and publishers began to converge on the Broadway and 28th Street section of the city, in an area that came to be called Tin Pan Alley after the tinny output of its upright pianos. -
General Music Responding to and Creating Blues Music—Grade 5
General Music Creating through Responding Unit Grade 5 Responding to and Creating Blues Music A Curriculum Project of the National Association for Music Education (NAfME) and the Library of Congress of the United States Teaching with Primary Sources ACKNOWLEDGMENTS PERSONNEL, LIBRARY OF CONGRESS GRANT — WRITING RESPONDING UNITS 2018–2019 PROJECT DIRECTOR • Johanna J. Siebert COMPOSITION/THEORY WRITING TEAM • Carolyn Bennett, North Stonington, CT, Team Chair • Terrence E. Bacon, North Chili, NY • Lisa Cookson, Wichita, KS GENERAL MUSIC WRITING TEAM • Wendy Barden, Minnetonka, MN, Team Chair • Steve Kennedy, New Orleans, LA • Richard Maxwell, Phoenix, AZ • Susan Osborn, Bear, DE • David Potter, Lansing, MI • Matt Warren, Webster, NY Special thanks to the Library of Congress for the generous grant on Teaching with Primary Sources (TPS), which made this resource possible. GENERAL MUSIC RESPONDING UNIT | GRADE 5 | NATIONAL ASSOCIATION for MUSIC EDUCATION 2 TABLE OF CONTENTS Overview of NAfME/Library of Congress Responding Units ........... 4 Overview of Grade 5 General Music Unit on Responding to and Creating Blues Music ............................................ 4 Prerequisite Knowledge and Experiences ........................... 5 Instructional Goals ............................................. 5 Embedded Inquiry Model: KWL ................................... 6 National Core Arts Standards in Music (2014) ....................... 7 Formative/Summative Assessments ............................... 9 Library of Congress Resource Links .............................. -
A SONY PICTURES CLASSICS RELEASE Www
A SONY PICTURES CLASSICS RELEASE www.itmightgetloudmovie.com Running time: 97 minutes *Official Selection: 2008 Toronto International Film Festival *Official Selection: 2009 Sundance Film Festival Publicity Distributor PMK/HBH Sony Pictures Classics Allen Eichhorn Carmelo Pirrone 622 Third Avenue Lindsay Macik 8th Floor 550 Madison Ave New York, NY 10017 New York, NY 10022 212-373-6115 Tel: 212-833-8833 [email protected] Short Synopsis Rarely can a film penetrate the glamorous surface of rock legends. It Might Get Loud tells the personal stories, in their own words, of three generations of electric guitar virtuosos – The Edge (U2), Jimmy Page (Led Zeppelin), and Jack White (The White Stripes). It reveals how each developed his unique sound and style of playing favorite instruments, guitars both found and invented. Concentrating on the artist’s musical rebellion, traveling with him to influential locations, provoking rare discussion as to how and why he writes and plays, this film lets you witness intimate moments and hear new music from each artist. The movie revolves around a day when Jimmy Page, Jack White, and The Edge first met and sat down together to share their stories, teach and play. Long Synopsis Who hasn't wanted to be a rock star, join a band or play electric guitar? Music resonates, moves and inspires us. Strummed through the fingers of The Edge, Jimmy Page and Jack White, somehow it does more. Such is the premise of It Might Get Loud, a new documentary conceived by producer Thomas Tull. It Might Get Loud isn't like any other rock'n roll documentary. -
Does Nature Abhor a Vacuum of Patriarchy? Missing Fathers in the Films of Whit Stillman
Michael P. Foley Does Nature Abhor a Vacuum of Patriarchy? Missing Fathers in the Films of Whit Stillman author’s preface: Prior to publication, Mr. Whit Stillman was kind enough to read this essay and offer his comments, all of which were incor- porated one way or another into the final draft. Nonetheless, the opinions expressed herein do not necessarily reflect those of Mr. Stillman. Hailed as the “Poet of the Urban Haute Bourgeoisie” and the “Jane Austen of indie film,” filmmaker and author Whit Stillman has gar- nered critical acclaim for works that are “rich, beautiful and surpris- ingly virtuous.”1 Stillman’s first film, the low-budgetMetropolitan (1990), was nominated for the Academy Award for Best Original Screenplay and also helped to launch the independent film industry as we know it today. Stillman’s cinematic comedies of manner are known for their erudite and delightful dialogue, Austenian sensibili- ties, and gently ironic humor.2 But one of the most recognizable fea- tures of Stillman’s first four movies—Metropolitan (1990), Barcelona (1994), Last Days of Disco (1998), and Damsels in Distress (2011)—is not a quality that they possess but a demographic they lack.3 Each film depicts young persons who are ill-equipped to face the challenges of logos 20:3 summer 2017 missing fathers in the films of whit stillman 19 becoming happy adults because they are bereft of significant adult guidance. This pattern appears to be especially true where fathers are concerned: while the main characters’ mothers sometimes make an appearance (albeit briefly), fathers only appear as usually wistful subjects of conversation. -
THE Permanent Crisis of FILM Criticism
mattias FILM THEORY FILM THEORY the PermaNENT Crisis of IN MEDIA HISTORY IN MEDIA HISTORY film CritiCism frey the ANXiety of AUthority mattias frey Film criticism is in crisis. Dwelling on the Kingdom, and the United States to dem the many film journalists made redundant at onstrate that film criticism has, since its P newspapers, magazines, and other “old origins, always found itself in crisis. The erma media” in past years, commentators need to assert critical authority and have voiced existential questions about anxieties over challenges to that author N E the purpose and worth of the profession ity are longstanding concerns; indeed, N T in the age of WordPress blogospheres these issues have animated and choreo C and proclaimed the “death of the critic.” graphed the trajectory of international risis Bemoaning the current anarchy of inter film criticism since its origins. net amateurs and the lack of authorita of tive critics, many journalists and acade Mattias Frey is Senior Lecturer in Film at film mics claim that in the digital age, cultural the University of Kent, author of Postwall commentary has become dumbed down German Cinema: History, Film History, C and fragmented into niche markets. and Cinephilia, coeditor of Cine-Ethics: riti Arguing against these claims, this book Ethical Dimensions of Film Theory, Prac- C examines the history of film critical dis tice, and Spectatorship, and editor of the ism course in France, Germany, the United journal Film Studies. AUP.nl 9789089647177 9789089648167 The Permanent Crisis of Film Criticism Film Theory in Media History explores the epistemological and theoretical founda- tions of the study of film through texts by classical authors as well as anthologies and monographs on key issues and developments in film theory. -
Executive Intelligence Review, Volume 23, Number 26, June 21
Selected works in new English translations. The writings of Friedrich Schiller, the great 19th-century poet, playwright, historian and philosopher, have inspired patriots and world citizens for 200 years. VOLUME I VOLUME II VOLUME III Don Carlos, Infante of Spain Wilhelm Tell The Virgin of Orleans Letters on Don Carlos What Is, and To What End Do Philosophical Letters Theater Considered as a Moral We Study Universal History? On the Pathetic Institution The Legislation of Ly curgus and On the Sublime Solon On the Aesthetical Education of On Naive and Sentimental Poetry Man On Grace and Dignity Poetry and Ballads The Ghost Seer Poetry, including The Song of the $15.00 Poetry and Epigrams Bell $9.95 $15.00 '" SPECIAL OFFER: Buy the three-volume set for only $34.50. Make check or mon�y order payable to: Shipping and handling: Add $4 for the first book and $.50 for each additional book in the order. Ben Franklin Booksellers Virginia residents add 4.5% sales tax. 107 South King St. Leesburg, Va. 22075 1-800-453-4108 or 1-703-777-3661 We accept Mastercard, Visa, American Express, and Discover. Founder and Contributing Editor: Lyndon H. LaRouche, Jr. Editorial Board: Melvin Klenetsky, Antony From theAssociate Editor Papen, Gerald Rose, Dennis Small, Edward Spannaus, Nancy Spannaus, Jeffrey Steinberg, Webster Tarpley, Carol White, Christopher White Senior Editor: Nora Hamerman If any among our readers think that Lyndon LaRouche's campaign Associate Editor: Susan Welsh Managing Editors: John Sigerson, is "pretty much over," with the end of the primary season, they don't Ronald Kokinda know Mr. -
Joseph Gallucci Prof. Howard Besser Intro to Moving Image Archiving And
Joseph Gallucci Prof. Howard Besser Intro to Moving Image Archiving and Preservation 9 December 2008 Our Sequined Heritage: A Night at the Gallery and the Audiovisual Record of New York's Underground Dance Clubs In the popular consciousness, at least among those who lived through the era and into the following generation, the word "disco" registers in the mind as something ersatz, plastic, disposable, chintzy, and, as the implication of such labels suggests, ultimately insignificant. A certain set of signifiers are automatically associated with discotheques: John Travolta's character in Saturday Night Fever, suited all in white with gold chains adorning an exposed, hirsute chest; glamorous celebrities engaging in unspeakably decadent behavior; and of course, the omnipresent music that seemingly refuses to die, falsetto male voices (save for Barry White) and belting divas over bouncy, string-laden, and percussive pop songs that are more often than not described as "guilty pleasures" by the very people who sing along to them at karaoke bars or dance to them at weddings. It It is telling that on Wikipedia, disco belongs to the subject category "1970s fads" (its arguable spiritual descendant, new wave, is similarly listed as a "1980s fad"). Punk, on the other hand, which emerged roughly simultaneously with disco's ascendance to the pop culture stratosphere, manages to escape this vaguely derogatory classification, perhaps because it was never embraced to quite the extent that disco was and cannot technically qualify as a "fad." However much these archetypes have persisted, it should be stated that little of it was rooted in reality: Saturday Night Fever, for instance, was based on an article written by Nik Cohn for New York Magazine that, while not too far off from the truth vis-à-vis the Italian-American inner-city working-class preoccupation with disco, was mostly fabricated (Laurino 137).