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Hollyoaks Actor Juan Pablo Yepez on His HD Connection from Our from Our Chief in This Edition… Chair of Trustees Executive
Research updates Ideas and insights for activities in HD #TeamHDA fundraising successes Branch and support group news Winter 2016 Hollyoaks actor Juan Pablo Yepez on his HD connection From our From our Chief In this edition… Chair of Trustees Executive 4 HDA news Supporting As a member of a family affected 7 Research by Huntington’s disease, and Updates and clinical trials Chair of our Trustees, I’m lucky one another enough to see some of the range 12 Special feature of work which the HDA does, and I’m consistently impressed Hollyoaks actor Juan Pablo by the passion and dedication of the HDA team, and It was wonderful to see so many people at our feedback about the look and content of our Yepez on his HD connection all the amazing volunteers and fundraisers. I hope this recent Family Weekend and AGM in Telford. We materials, please email [email protected] 14 magazine gives you a flavour of some of what you’ve all hope the workshops and talks by HD experts Advice feature been up to around the country. gave people insight into developments in HD Recent changes to the ESA assessment Ideas and insights for research and practical advice to help them in process signal a positive shift in the DWP’s activities Of course behind what we see, there’s a huge amount their day to day life. I feel incredibly privileged approach to benefits for those people with of work behind the scenes, to support our vital national to attend this weekend each year and witness long term illnesses. -
Channel Four Television Corporation Report and Financial Statements 2008 Channel Four Television Corporation Report and Financial Statements 2008
Channel Four Television Corporation Report and Financial Statements 2008 Channel Four Television Corporation Report and Financial Statements 2008 Broadcasting Act 1990 Presented to Parliament pursuant to Paragraph 13(1) of Schedule 3 to the Broadcasting Act 1990 Contents Introduction Scale and impact Chairman’s introduction 04 Viewer impact 60 Chief Executive’s introduction 06 Top tens 64 Output and spend 66 Channel 4’s public impact 08 Creative economy impact 68 Talent ladder 70 Nurture Partnerships 71 Awards 72 Film4 Productions and Slumdog Millionaire 12 Comedy Lab 14 Final comments on public impact report 76 The Devil’s Whore 16 Assurance statement 77 City of Vice 18 Key measures 20 Finance Challenge Operating and financial review 80 Report of the members 84 Saving Africa’s Witch Children 24 Report of the auditors 86 Dispatches and Unreported World 26 Consolidated income statement 88 Channel 4 News 28 Balance sheets 89 The Family 30 Cashflow statements 90 Key measures 32 Significant accounting policies 91 Notes to the financial statements 95 Champion Corporate governance 121 Members 127 Islam Unveiled 36 Report on members’ remuneration 128 Big Brother 38 Programmes and the licence 132 Hunger 40 Historical record 134 Disarming Britain 42 Key measures 44 Inspire Secret Millionaire 48 Embarrassing Bodies and The Sex Education Show 50 Big Food Fight 52 Battlefront 54 Key measures 56 Chairman’s introduction Luke Johnson Chairman The media establishment is undergoing its most violent In recent months, Channel 4 has demonstrated its creative upheaval since Channel 4 was founded 26 years ago. The credentials in spades. With Slumdog Millionaire, Film4 won digital revolution, combined with a severe economic downturn, a spectacular array of Oscars and BAFTAs, and enjoyed a true means all commercial broadcasters are under significant international box office smash. -
Researching Digital on Screen Graphics Executive Sum M Ary
Researching Digital On Screen Graphics Executive Sum m ary Background In Spring 2010, the BBC commissioned independent market research company, Ipsos MediaCT to conduct research into what the general public, across the UK thought of Digital On Screen Graphics (DOGs) – the channel logos that are often in the corner of the TV screen. The research was conducted between 5th and 11th March, with a representative sample of 1,031 adults aged 15+. The research was conducted by interviewers in-home, using the Ipsos MORI Omnibus. The key findings from the research can be found below. Key Findings Do viewers notice DOGs? As one of our first questions we split our sample into random halves and showed both halves a typical image that they would see on TV. One was a very busy image, with a DOG present in the top left corner, the other image had much less going on, again with the DOG in the top left corner. We asked respondents what the first thing they noticed was, and then we asked what they second thing they noticed was. It was clear from the results that the DOGs did not tend to stand out on screen, with only 12% of those presented with the ‘less busy’ screen picking out the DOG (and even fewer, 7%, amongst those who saw the busy screen). Even when we had pointed out DOGs and talked to respondents specifically about them, 59% agreed that they ‘tend not to notice the logos’, with females and viewers over 55, the least likely to notice them according to our survey. -
Television Promotions - What the Viewers Think a Report of the Key Findings of a Qualitative and Quantitative Study
Television promotions - what the viewers think A report of the key findings of a qualitative and quantitative study Research study conducted by The Knowledge Agency Ltd on behalf of Ofcom for the purposes of its review of the cross promotion rules 6 December 2005 1 Contents Section Page 1 Executive summary 3 2 Research objectives and methodology 5 3 The role of promotions in viewing strategies 8 4 Attitudes towards different types of promotion 13 5 Positioning of promotions around programmes 19 6 Promotions across different channels 22 7 Regulation of on-air promotions 24 2 Section 1 Executive summary Objectives & methodology • As part of Ofcom’s Review of the cross promotion rules, Ofcom commissioned a primary research study to understand audience views on the subject of promotions during end credits, commercial breaks and within programmes. The research was timed to run in parallel with a content analysis study quantifying the amount of promotional activity being broadcast across a range of channels. • The audience research was designed to investigate specific questions that included: o Do audiences see any issues with promotional activity? o How do audiences decide on their viewing and therefore what is the role of promotional activity? o Which type of activity is seen positively and which is seen more negatively? o When is promotional activity seen as useful? o Are there any concerns that promotional activity within a programme compromises programme quality? • The definition of promotion used in the study has been summarized below: ‘SELF PROMOTION’ promoting One television channel Itself (including programme specific promotions) Another television channel g tin mo ‘CROSS PROMOTION’ ro ing A radio station p mot pro General One television channel promoting A web-site promotions or pro mo programme pr ting om o specific ti ng An event Support material e.g DVDs, books, etc Research findings • Overall, the qualitative research suggests promotional activity has far reaching benefits for viewers that outweigh some minor issues. -
Radio Listeners Online: a Case Study of the Archers
Radio listeners online: a case study of The Archers Lyn Thomas and Maria Lambrianidou AHRC / BBC Knowledge Exchange 2007-08 Institute for the Study of European Transformations (ISET) 166-220 Holloway Road, London N7 8DB Tel: 020 7133 2927 Email: [email protected] http://www.londonmet.ac.uk/research-units/iset/projects/bbc--ahrc.cfm This collaborative research project was funded through the AHRC/BBC Knowledge Exchange Programme’s pilot funding call. The aim of the Arts and Humanities Research Council/BBC KEP is to develop a long- term strategic partnership brining together the arts and humanities research communities with BBC staff to enable co-funded knowledge exchange and collaborative research and development. The benefits from the outcomes and outputs of these projects should be of equal significance to both partners. To find out more about the AHRC/BBC KEP please visit the AHRC’s website at: http://www.ahrc.ac.uk 2 Contents Introduction 4 Part One: Survey and Interview Responses 5 Who are the online fans? 5 Online Fans’ Responses to the Programme 7 Responses to the BBC Archers Website 10 Responses to the BBC Messageboards 13 Part Two - Archers fan cultures online 20 The BBC ‘Discuss The Archers’ Messageboard 22 The ‘Archers Addicts’ Board 29 The ‘Mumsnet’ Archers Threads 31 The Facebook Archers Appreciation Group 34 Summary and Conclusions 35 References 40 3 Introduction The aim of this research is to explore the nature and social composition of online fan cultures around The Archers. We hope to show how listeners engage with the programme online both on BBC and independent sites, and how this activity adds to their enjoyment of the programme. -
Hollyoaks: Docyou
HOLLYOAKS: DOCYOU Hollyoaks, the UK’s most watched continuing drama aimed at 16-24 year olds, wanted to tackle OVERVIEW cyberbullying head-on through a hard-hitting storyline. Sixth former, Esther, was about to become a victim of her peer group. Within six months, viewers would see her change from a confident teenager with a bright future to an alcohol and pills fuelled suicide attempt. With an active online audience, Lime Pictures and Channel 4 education needed a partner who would bring the story to life digitally and deliver on these key objectives: OBJECTIVES • Educate, entertain and engage - develop a compelling online concept to add value to the storyline. • Build awareness of the storyline with the existing and wider audience. With 38% of young people affected by cyber bullying, Democracy believed that the digital aspect needed OUTPUTS to show how social media makes bullying a 24/7 experience. Democracy proposed creating a world first: a fictional social network that offered rich content to viewers and gave greater depth to the TV plot. Naively created by fellow sixth form character Dylan, DocYou was the kind of social network that every parent fears - no safety checks, no options to report abuse and no accountability. The perfect environment for unchecked bullying. For fans of the show, the site allowed for real time, two-screen viewing, incorporating a design and build that would be accessible via smartphones and tablets (the two most likely viewing devices) in addition to desktop. Plus, it shared much of the functionality that the audience would recognise from Facebook and tumblr. -
MGEITF Prog Cover V2
Contents Welcome 02 Sponsors 04 Festival Information 09 Festival Extras 10 Free Clinics 11 Social Events 12 Channel of the Year Awards 13 Orientation Guide 14 Festival Venues 15 Friday Sessions 16 Schedule at a Glance 24 Saturday Sessions 26 Sunday Sessions 36 Fast Track and The Network 42 Executive Committee 44 Advisory Committee 45 Festival Team 46 Welcome to Edinburgh 2009 Tim Hincks is Executive Chair of the MediaGuardian Elaine Bedell is Advisory Chair of the 2009 Our opening session will be a celebration – Edinburgh International Television Festival and MediaGuardian Edinburgh International Television or perhaps, more simply, a hoot. Ant & Dec will Chief Executive of Endemol UK. He heads the Festival and Director of Entertainment and host a special edition of TV’s Got Talent, as those Festival’s Executive Committee that meets five Comedy at ITV. She, along with the Advisory who work mostly behind the scenes in television times a year and is responsible for appointing the Committee, is directly responsible for this year’s demonstrate whether they actually have got Advisory Chair of each Festival and for overall line-up of more than 50 sessions. any talent. governance of the event. When I was asked to take on the Advisory Chair One of the most contentious debates is likely Three ingredients make up a great Edinburgh role last year, the world looked a different place – to follow on Friday, about pay in television. Senior TV Festival: a stellar MacTaggart Lecture, high the sun was shining, the banks were intact, and no executives will defend their pay packages and ‘James Murdoch’s profile and influential speakers, and thought- one had really heard of Robert Peston. -
Channel 4 DEA Review
Annex 3: Evidence assessing C4C’s delivery of its media content duties (2010-2013) December 2014 Contents • Background Slide 2 • Evidence to assess C4C’s delivery of its media Slide 11 content duties 1 Background 2 Introduction • Section 198C of the Communications Act 2003 (the Act) requires Ofcom to review the extent to which Channel 4 Corporation (C4C) has delivered the media content duties set out in section 198A of the Act. These duties were introduced by the Digital Economy Act 2010 (the DEA). • This slide pack sets out C4C’s media content duties, and maps the evidence compiled to assess C4C’s delivery of each these requirements across its services comprised of: its TV channels, on-demand and online services, and Film4 Productions. 3 C4C’s media content duties under Section 198A of the Act *The public service objectives are: 4. In performing their duties under 1) to 1. C4C must participate in - (b) that cultural activity in the United Kingdom, and its diversity, are a) the making of a broad range of relevant 3) C4C must - reflected, supported and stimulated by the representation in those services media content of high quality that, taken as a) support the development of people (taken together) of drama, comedy and music, by the inclusion of feature a whole, appeals to the tastes and interests films in those services and by the treatment of other visual and performing with creative talent, in particular – arts; of a culturally diverse society, i. people at the beginning of b) the making of high quality films intended to (c) that those services (taken together) provide, to the extent that is their careers in relevant media appropriate for facilitating civic understanding and fair and well-informed be shown to the general public at the content or films, and debate on news and current affairs, a comprehensive and authoritative cinema in the United Kingdom, and coverage of news and current affairs in, and in the different parts of, the c) the broadcasting and distribution of such ii. -
F9 Production Information 1
1 F9 PRODUCTION INFORMATION UNIVERSAL PICTURES PRESENTS AN ORIGINAL FILM/ONE RACE FILMS/PERFECT STORM PRODUCTION IN ASSOCIATION WITH ROTH/KIRSCHENBAUM FILMS A JUSTIN LIN FILM VIN DIESEL MICHELLE RODRIGUEZ TYRESE GIBSON CHRIS ‘LUDACRIS’ BRIDGES JOHN CENA NATHALIE EMMANUEL JORDANA BREWSTER SUNG KANG WITH HELEN MIRREN WITH KURT RUSSELL AND CHARLIZE THERON BASED ON CHARACTERS CREATED BY GARY SCOTT THOMPSON PRODUCED BY NEAL H. MORITZ, p.g.a. VIN DIESEL, p.g.a. JUSTIN LIN, p.g.a. JEFFREY KIRSCHENBAUM, p.g.a. JOE ROTH CLAYTON TOWNSEND, p.g.a. SAMANTHA VINCENT STORY BY JUSTIN LIN & ALFREDO BOTELLO AND DANIEL CASEY SCREENPLAY BY DANIEL CASEY & JUSTIN LIN DIRECTED BY JUSTIN LIN 2 F9 PRODUCTION INFORMATION PRODUCTION INFORMATION TABLE OF CONTENTS THE SYNOPSIS ................................................................................................... 3 THE BACKSTORY .............................................................................................. 4 THE CHARACTERS ............................................................................................ 7 Dom Toretto – Vin Diesel ............................................................................................................. 8 Letty – Michelle Rodriguez ........................................................................................................... 8 Roman – Tyrese Gibson ............................................................................................................. 10 Tej – Chris “Ludacris” Bridges ................................................................................................... -
Guilford County Planning & Inspections Street Listing 4/1/2021
Guilford County Planning & Inspections Street Listing 4/1/2021 Street Name City Jurisdiction Road Status Subdivision DR GREENSBORO RD 10TH ST GIBSONVILLE Gibsonville 11TH ST GREENSBORO Greensboro 12TH ST GREENSBORO Greensboro 14TH ST GREENSBORO Greensboro 15TH ST GREENSBORO Greensboro 16TH CT GREENSBORO 16TH ST GREENSBORO Greensboro 17TH ST GREENSBORO Greensboro 18TH ST GREENSBORO Greensboro 19TH ST GREENSBORO Greensboro 1ST ST HIGH POINT High Point 20TH ST GREENSBORO Greensboro 2ND ST GIBSONVILLE Gibsonville 32ND ST JAMESTOWN Jamestown 3RD ST GREENSBORO Greensboro 4TH ST GREENSBORO Greensboro 5TH AV GREENSBORO Greensboro 8TH ST GREENSBORO Greensboro 9TH ST GREENSBORO Greensboro A C C LN GREENSBORO Greensboro A W MCALISTER DR GREENSBORO Greensboro ABB RD GIBSONVILLE ABBERTON WAY HIGH POINT ABBEY CT GREENSBORO Greensboro ABBEY GLEN DR GIBSONVILLE Gibsonville ABBEYDALE PL GREENSBORO Greensboro ABBEYWOOD PL HIGH POINT High Point Page 1 of 304 Street Name City Jurisdiction Road Status Subdivision ABBIE AV HIGH POINT High Point ABBOTS GLEN CT GREENSBORO Greensboro ABBOTT DR GREENSBORO Greensboro ABBOTT LOOP GUILFORD COUNTY ABBOTTS FORD CT HIGH POINT High Point ABE BRENNER PL GREENSBORO Greensboro ABELIA CT GREENSBORO Greensboro ABER RD WHITSETT ABERDARE DR HIGH POINT High Point ABERDEEN RD HIGH POINT High Point ABERDEEN TER GREENSBORO Greensboro ABERLOUR LN BURLINGTON Burlington ABERNATHY RD WHITSETT ABIGAIL LN GIBSONVILLE Gibsonville ABINGTON DR GREENSBORO Greensboro ABNER PL GREENSBORO Greensboro ABROSE GUILFORD ABSHIRE LN GREENSBORO Greensboro -
Hollyoaks in the City Episode Guide
Hollyoaks In The City Episode Guide Tracheal Yanaton convokes hugger-mugger. Virulent and unprofessed Grady stencil almost awesomely, though Byron zip his maids outlined. Zed commend aversely while razor-sharp Maxim overcasts indivisibly or navigating nowadays. Unseen scenes from Funny but pretty well stop at times. Hollyoaks cameraman Felix Schroer passes away after. It good later revealed that Lisa is write an impostor called Sonia Albright. Drama series about the commercial and patients at Holby City the's emergency department. In many cases, characters express no desire ever get others drunk so may can manipulate them without some way. Get the latest on Hollyoaks with mystery gossip and soap spoilers with home's On TV's exclusive access. Emmerdale cast 2019. See the License for data specific language governing permissions and limitations under the License. Loughlin currently stars in the. Additionally, as both Coronation Street and Emmerdale film many weeks before they access on ITV, episodes will crouch to feature scenes set thought the Rovers and Woolpack and other communal areas. Chandler still living arrangements was not her life to retailer sites will guide to profess her. To use a pang of staff of hollyoaks in the city episode guide this content based on another man after being released from our default settings. Why is Hollyoaks not verify and when does total return after the branch break? Thank you smash your support. Grace and the city comedy troupe in the time. Elizabeth olsen and the city on to find a guide to be here, episodes will inevitably be, from tom cunningham moves in friends cast. -
22 Eastenders and the Manufacture of Celebrity Anthony
EastEnders and the Manufacture of Celebrity Anthony McNicholas Communication and Media Research Institute University of Westminster Keywords: BBC, celebrity, publicity, professionalism, private lives, tabloid press Abstract When EastEnders launched in February 1985 it represented a new approach by the BBC to programme making in many ways. One of these was publicity. Traditionally, the BBC put little effort into programme promotion but for EastEnders a much more professional approach was adopted and more resources employed. In part the publicity was based on the real life histories of the actors involved, many of whom had been cast because they had similar backgrounds to the characters they played. However, the full-blooded entry of the BBC, the UK’s largest cultural producer into the business of publicity was to have unforeseen consequences, as the tabloid press, following a logic of its own created the kind of feeding frenzy around the actors’ private lives with which we are so familiar today. The launch of EastEnders, it is argued, represents therefore a significant moment in recent British cultural history as the private lives of relatively minor characters, as much as their on screen personas became public property. Introduction Social phenomena such as celebrity culture are not uniform across the globe though they may be present very widely. They are inflected differently, and ‘have numerous points of origin, numerous points of change’ (Turner 2004, 12) in the various places where they occur depending on the nature of the society out of which they both come and inform. In the UK, we ‘celebrate’ if that is the word, certain individuals or classes of people in our own distinct way.