Gender Representation
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„JETIX“ Aktenzeichen: KEK 503 Beschluss in Der Rundfu
Zulassungsantrag der Jetix Europe GmbH für das Fernsehspartenprogramm „JETIX“ Aktenzeichen: KEK 503 Beschluss In der Rundfunkangelegenheit der Jetix Europe GmbH, vertreten durch die Geschäftsführer Jürgen Hinz, Stefan Kas- tenmüller, Dene Stratton und Paul D. Taylor, Infanteriestraße 19/6, 80797 München, – Antragstellerin – w e g e n Zulassung zur bundesweiten Veranstaltung des Fernsehspartenprogramms „JETIX“ hat die Kommission zur Ermittlung der Konzentration im Medienbereich (KEK) auf Vorlagen der Bayerischen Landeszentrale für neue Medien (BLM) vom 02.06.2008 in der Sitzung am 19.08.2008 unter Mitwirkung ihrer Mitglieder Prof. Dr. Sjurts (Vorsitzende), Prof. Dr. Huber, Dr. Lübbert und Prof. Dr. Mailänder entschieden: Der von der Jetix Europe GmbH mit Schreiben vom 21.05.2008 bei der Bayeri- schen Landeszentrale für neue Medien (BLM) beantragten Zulassung zur Veran- staltung des bundesweit verbreiteten Fernsehspartenprogramms JETIX stehen Gründe der Sicherung der Meinungsvielfalt im Fernsehen nicht entgegen. 2 Begründung I Sachverhalt 1 Zulassungsantrag Die Antragstellerin hat mit Schreiben vom 21.05.2008 bei der BLM die Verlänge- rung der zum 30.09.2008 auslaufenden Zulassung für das Fernsehspartenpro- gramm JETIX um weitere acht Jahre beantragt. Die BLM hat der KEK den Antrag mit Schreiben vom 02.06.2008 zur medienkonzentrationsrechtlichen Prüfung vorge- legt. 2 Programmstruktur und -verbreitung 2.1 JETIX ist ein deutschsprachiges, digitales Spartenprogramm für Kinder mit dem Schwerpunkt auf Unterhaltung. Gesendet werden täglich von 06:00 bis 19:45 Uhr Action-, Humor- und Abenteuerformate. Die Zielgruppe sind Kinder im Alter zwi- schen 6 und 14 Jahren. 2.2 JETIX wird als Pay-TV-Angebot verschlüsselt und digital über die Programmplatt- form der Premiere Fernsehen GmbH & Co. -
Disney Channel’S That’S So Raven Is Classified in BARB As ‘Entertainment Situation Comedy US’
Children’s television output analysis 2003-2006 Publication date: 2nd October 2007 ©Ofcom Contents • Introduction • Executive summary • Children’s subgenre range • Children’s subgenre range by channel • Children’s subgenre range by daypart: PSB main channels • Appendix ©Ofcom Introduction • This annex is published as a supplement to Section 2 ‘Broadcaster Output’ of Ofcom’s report The future of children’s television programming. • It provides detail on individual channel output by children’s sub-genre for the PSB main channels, the BBC’s dedicated children’s channels, CBBC and CBeebies, and the commercial children’s channels, as well as detail on genre output by day-part for the PSB main channels. (It does not include any children’s output on other commercial generalist non-terrestrial channels, such as GMTV,ABC1, Sky One.) • This output analysis examines the genre range within children’s programming and looks at how this range has changed since 2003. It is based on the BARB Children’s genre classification only and uses the BARB subgenres of Children’s Drama, Factual, Cartoons, Light entertainment/quizzes, Pre-school and Miscellaneous. • It is important to note that the BARB genre classifications have some drawbacks: – All programme output that is targeted at children is not classified as Children’s within BARB. Some shows targeted at younger viewers, either within children’s slots on the PSB main channels or on the dedicated children’s channels are not classified as Children’s. For example, Disney Channel’s That’s so raven is classified in BARB as ‘Entertainment Situation Comedy US’. This output analysis is not based on the total output of each specific children’s channel, e.g. -
H1 2019 Trends and Opportunities What’S Trending in Social TV: H1 2019
What’s Trending In Social TV H1 2019 Trends and Opportunities What’s Trending In Social TV: H1 2019 The state of social media for TV has been strong so far in 2019. Total Fan Growth for TV pages across Facebook, Twitter and Instagram is up 29% in the first half of 2019 compared to the second half of 2018, while social engagement increased 15% during the same time period. For Facebook, that largely means TV pages continue to recover from the algorithm changes in early 2018 that significantly limited organic reach. As TV focuses on strengthening engagement with their fanbase as opposed to just growing it, Facebook response rate and video views were up in the first half of 2019, inching back to pre-algorithm change levels. It’s a similar story for Twitter, where the TV space needed to alter their strategies following a mid-2018 purge of fake and dormant users. While the volume of tweets from TV accounts was down in the first half of 2019, the “less is more” strategy has been paying off. In Q2 2019, the average number of video views for TV hit its highest peak since the beginning of 2017. Meanwhile, the success of Instagram Stories is something TV Pages are taking advantage of in 2019. The volume of Instagram Stories published by TV accounts increased by 176% comparing Q2 2019 to Q1 2018. TV has also seen substantial growth on YouTube halfway through 2019, with fan counts and video views on the platform up 45% and 28% respectively, comparing H1 2019 to H1 2018. -
Alediaccepted 47 C.F.R
.~ . " \'\~'{ '\ In the Matter of: ~ ccttf\tl~-- Great Plains Cable Television, Inc. )S CSR- 7c2/2--Z. Petition for Waiver of ~ ALEDIACCEPTED 47 C.F.R. § 76. 1204(a)(1) ~ MAY 3 12007 To: Chief, Media Bureau ) Federal Communications CommISSion Office of the Secretary PETITION FOR WAIVER OF 47 C.F.R. § 76.1204(a)(1) I. Introduction and Summary Great Plains Cable Television, Inc. ("Great Plains") is a small cable company providing cable services to approximately 10,000 subscribers in rural Nebraska. Pursuant to 47 U.S.C. § 549(c), and 47 C.F.R. §§ 1.3, 76.7 and 76.1207, Great Plains respectfully requests that the Commission grant a limited waiver of 47 C.F.R. § 76.1204(a)(1) for the following set-top boxes: • Motorola DCT-1000 series • Motorola DCT-2000 series • Motorola DSR-410 (collectively, "Low-Cost Set-Top Boxes").Great Plains requests that the waiVer remain effective until the earlier of (i) the commercial availability of non-integrated I set-top boxes compatible with one-way cable plant and Comcast's HITS seryice; 1 or (ii) Great Plains' upgrade of its systems to two-way cable plant. Great Plains can and will comply with 47 C.F.R. § 76.1204(a)(1) for the almost 50% of its subscribers who are currently served by two-way cable plant. No. of Copies rec'duO-,-__ UstABCDE 1 Currently, there are DQ such set-top boxes commercially available. 1 As required by the Commission's Second Report and Order, ~ GreatPlains attaches full specifications for the Low-Cost Set-Top Boxes as Exhibit 1. -
Religion in Children's Visual Media
Journal of Media and Religion ISSN: (Print) (Online) Journal homepage: https://www.tandfonline.com/loi/hjmr20 Religion in Children’s Visual Media: A Qualitative Content Analysis of Preschool Holiday Specials Megan Eide To cite this article: Megan Eide (2020) Religion in Children’s Visual Media: A Qualitative Content Analysis of Preschool Holiday Specials, Journal of Media and Religion, 19:3, 108-126, DOI: 10.1080/15348423.2020.1812339 To link to this article: https://doi.org/10.1080/15348423.2020.1812339 Published online: 14 Sep 2020. Submit your article to this journal View related articles View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=hjmr20 JOURNAL OF MEDIA AND RELIGION 2020, VOL. 19, NO. 3, 108–126 https://doi.org/10.1080/15348423.2020.1812339 Religion in Children’s Visual Media: A Qualitative Content Analysis of Preschool Holiday Specials Megan Eide Gustavus Adolphus College ABSTRACT Children adopt lifelong attitudes, behaviors, and beliefs from media messages, yet little is known about what messages visual media send to children on religion. This study addresses this literature gap by analyzing depictions of religion in holiday specials aired in 2018 from three top preschool networks: Disney Junior, Nick Jr., and PBS Kids. Using qualitative content analysis, this study reveals that preschool holiday specials are shifting away from more in-depth portrayals of diverse religions toward commercialized, generalized, and secularized portrayals of Christmas. Although Chanukah and other non-Christmas religious holiday specials are, on average, older and less common than Christmas specials, they portray non-Christmas traditions in greater religious depth than the more recent and numerous Christmas specials portray Christmas. -
Public Viewing Packages CHANNEL LINEUPS Effective October 2019 3 COMMERCIAL XTRA™ PACK
user guide for bars and restaurants TABLE OF CONTENTS 1 Video 1 Using Your Remote Control 2 Your HD On-Screen Guide 3 Channel Lineups 6 Watch TV Your Way 7 Customized Entertainment 8 Ultimate Video & Sound Experiences 9 Sports 9 Exclusive Sports Programming 10 Popular Sports Packages 11 You're an MVP 12 Understanding Your Bill 13 Auto Bill Pay 14 Troubleshooting 16 DIRECTV for BUSINESSSM Remote App Using Your Remote Control VIDEO 1 TV Input Mode Cycles through the equipment Changes the remote’s MODE connected to your TV. to control other equipment. (Far left selection indicates the DIRECTV® Receiver.) Format Displays current screen FORMAT options and HD resolutions. O n / O ff (Works only with HD Access.) Turns both DIRECTV Receiver and TV ON or OFF at the same time. Stop (Remote must be programmed for TV. DVR still records when off .) STOP playback while viewing recorded program. Power Replay Turns On/Off POWER of whichever equipment is selected. REPLAY previous six seconds. Advance Rewind ADVANCE 30 seconds. REWIND at increasing speeds— press up to four times. Press and hold to jump to previous tick mark. Fast Forward FAST FORWARD at increasing speeds—press up to four times. Play PLAY current program. Exit EXIT the menu and return Pause to previous channel viewed. PAUSE current program. Blue Button Guide Display a one-line Channel Guide Press once for On-Screen GUIDE . while viewing your program. Press TWICE for programming grouped into categories. Yellow Button Red Button Display guide options while viewing Jump back 12 hours while the On-Screen Guide. -
SNICK - Round 9
SNICK - Round 9 1. Gigi D'Agostino's remix of this song appears on his album L'Amour Toujours and prominently repeats the line "They don't care." The true story of Lela and Raymond Howard's efforts to reach the Pioneer Days festival in Temple, Texas inspired Tony Scalzo's lyrics to this song, which features nearly-constant eighth-note piano chords. This lead single from (*) All the Pain Money Can Buy oddly describes a destination as "eternal summer slacking." Figures in this song "drank up the wine" before their car broke down, meaning that when "the children woke up, they couldn't find them." That couple travels "without ever knowing" the title entity of, for 10 points, what 1999 song by Fastball? ANSWER: The Way <Vopava, Music> 2. A shot in this film in which a large vehicle runs over numerous smaller ones proved difficult when the stunt driver kept failing to hit them. The soundtrack to this film prominently includes Shaggy's song "My Dream." This movie's villain, John Geiger, tells a group of people it's "time for group therapy" while applying leeches to himself. Siskel and Ebert were the only prominent critics to give (*) positive reviews to this film, which garnered a Razzie nomination for Willem Dafoe. Jason Patric joined the cast of this film after the portrayer of Jack Traven chose not to reprise his role. Annie Porter, a former bus driver played by Sandra Bullock, appears in, for 10 points, what pointless 1997 sequel set on a ship? ANSWER: Speed 2: Cruise Control <Nelson, Movies> 3. -
Global Pitch Guide
GlobalGlobal PitchPitch GuideGuide20122012 Searching for a few good buyers? Welcome to the 2012 edition of our annual Global Pitch Guide. This year-round reference tool details the programming priorities for key kidcasters around the world and gives the scoop on the best way to approach them. Kidscreen Global Pitch Guide 2012 2 GLOBAL PITCH GUIDE 2012 Tim Brooke-Hunt Controller ABC Children’s (Australia) Looking for: ABC Australia is committed to broadcasting 32 hours of children’s programming per day across its three networks, and is constantly in the market for new content. High on ABC’s current shopping list are: animation in general, comedies targeting eight- to 12-year-olds, action-adventure shows for boys, documentaries of all types and the latest in factual and reality entertainment. ABC places a premium on homegrown content, but also uses a healthy amount of international acquisitions to augment its kids schedules. Preferred approach: As far as approach goes, the network is happy to review program submissions at any stage of the production process. Producers can begin their pitch by emailing ([email protected]) or they can mail series bibles, screeners etc. to ABC Children’s Acquisitions, ABC TV, 700 Harris Street, Ultimo, NSW 2007, Australia. Free non-exclusive streaming rights are an important part of any deal ABC makes, but the public broadcaster is not expecting to participate in any licensing or merchandising royalties. Market circuit: Kidscreen Summit, MIPCOM Michael Goldsmith Director of original programming Astral Kids (Canada) Family Channel Looking for: Family has seen great success with live-action comedies, both single- and multi-camera, that appeal to its core eight to 14 audience. -
American Primacy and the Global Media
City Research Online City, University of London Institutional Repository Citation: Chalaby, J. (2009). Broadcasting in a Post-National Environment: The Rise of Transnational TV Groups. Critical Studies in Television, 4(1), pp. 39-64. doi: 10.7227/CST.4.1.5 This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/4508/ Link to published version: http://dx.doi.org/10.7227/CST.4.1.5 Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] Broadcasting in a post-national environment: The rise of transnational TV groups Author: Dr Jean K. Chalaby Department of Sociology City University Northampton Square London EC1V 0HB Tel: 020 7040 0151 Fax: 020 7040 8558 Email: [email protected] Jean K. Chalaby is Reader in the Department of Sociology, City University in London. He is the author of The Invention of Journalism (1998), The de Gaulle Presidency and the Media (2002) and Transnational Television in Europe: Reconfiguring Global Communications Networks (2009). -
Gender Biased Hiding of Extraordinary Abilities in Girl-Powered Disney Channel Sitcoms from the 2000S
SECRET SUPERSTARS AND OTHERWORLDLY WIZARDS: Gender Biased Hiding of Extraordinary Abilities in Girl-Powered Disney Channel Sitcoms from the 2000s By © 2017 Christina H. Hodel M.A., New York University, 2008 B.A., California State University, Long Beach, 2006 Submitted to the graduate degree program in Film and Media Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Chair: Germaine Halegoua, Ph.D. Joshua Miner, Ph.D. Catherine Preston, Ph.D. Ronald Wilson, Ph.D. Alesha Doan, Ph.D. Date Defended: 18 November 2016 The dissertation committee for Christina H. Hodel certifies that this is the approved version of the following dissertation: SECRET SUPERSTARS AND OTHERWORLDLY WIZARDS: Gender Biased Hiding of Extraordinary Abilities in Girl-Powered Disney Channel Sitcoms from the 2000s Chair: Germaine Halegoua, Ph.D. Date Approved: 25 January 2017 ii ABSTRACT Conformity messaging and subversive practices potentially harmful to healthy models of feminine identity are critical interpretations of the differential depiction of the hiding and usage of tween girl characters’ extraordinary abilities (e.g., super/magical abilities and celebrity powers) in Disney Channel television sitcoms from 2001-2011. Male counterparts in similar programs aired by the same network openly displayed their extraordinariness and were portrayed as having considerable and usually uncontested agency. These alternative depictions of differential hiding and secrecy in sitcoms are far from speculative; these ideas were synthesized from analyses of sitcom episodes, commentary in magazine articles, and web-based discussions of these series. Content analysis, industrial analysis (including interviews with industry personnel), and critical discourse analysis utilizing the multi-faceted lens of feminist theory throughout is used in this study to demonstrate a unique decade in children’s programming about super powered girls. -
Mac 343 Radio/Tv Programming
MAINCOURSE WORK GUIDE MAC 343 RADIO/TV PROGRAMMING COURSE TEAM Course Developer Chidinma H. Onwubere. PhD, LL.B (NOUN) Course Writers Mr. Myke Esiri Department of Mass Communication Redeemerr’s University, Ogun State [email protected] +2348143092044 Chidinma H. Onwubere , PhD, LL.B School of Arts and Social Sciences National Open University of Nigeria, Victoria Island, Lagos [email protected] +2348023014372 EDITOR Dr. Sunday Olayinka Alawode Department of Mass Communication Lagos State University (LASU) Lagos State +234-8096095589 HEAD OF UNIT Chidinma H. Onwubere. PhD, LL.B School of Arts and Social Sciences National Open University of Nigeria, Victoria Island, Lagos NATIONAL OPEN UNIVERSITY OF NIGERIA 1 National Open University of Nigeria Headquarters 14/16 Ahmadu Bello Way Victoria Island Lagos Abuja Office National Open University of Nigeria 5, Dar Es Salaam Street, Off Aminu Kano Crescent Wuse II, Abuja Nigeria email: [email protected] URL: www.nou.edu.ng Published by National Open University of Nigeria Printed ISBN: All Rights Reserved 2 Table of Contents Contents Page MODULE 1 INTRODUCTION.................................................................. Unit 1: The nature of radio............................................................................................ Unit 2: The nature of television Unit 3: Station Format Unit 4: Programming the station MODULE 2 SCRIPTING Unit 1 Scripting Unit 2 The scriptwriter Unit 3 Radio TV Script format MODULE 3 WRITING AND PRODUCING TALKS ON RADIO/TV Unit 1 Talk Programmes Unit -
Congressional Record—Senate S13810
S13810 CONGRESSIONAL RECORD — SENATE September 19, 1995 the period of 1992 to 1996, the program The motion to lay on the table was block programming and a rating sys- averaged $54.8 million a year, which is agreed to tem for programming are not nec- 3.5 times what it was in the previous The PRESIDING OFFICER. The Sen- essary. period. ator from North Dakota. Mr. President, the U.S. News & World As we have noted, the program last f Report’s review of fall TV program- year appears to be in the neighborhood ming suggests otherwise. It is regret- PRIME TIME TELEVISION—THE of $120 million. CRS says $119.5 million table that the networks are dem- NEW FALL TV PROGRAM LINEUP is their estimate. That is not a final- onstrating such disregard for the wish- ized figure. Mr. CONRAD. Mr. President, I would es of American families. The UCLA Mr. President, the other point that I like to bring the attention of the Sen- Center for Communications Policy’s think is important, that the real cost ate an article entitled ‘‘Sex and Vio- Network Violence Study released ear- of this program is not what it costs the lence on TV’’ from the most recent lier today confirms some of these con- taxpayers, which is significant and issue of U.S. News & World Report— tinuing concerns regarding violent pro- growing dramatically. It is what it September 11, 1995. The article reviews gramming. The UCLA study points out costs the consumers of America, which television network programming for that while some programming shows CRS indicates may be in the neighbor- the upcoming fall TV season.