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Nailing an Exclusive Interview in Prime Time
The Business of Getting “The Get”: Nailing an Exclusive Interview in Prime Time by Connie Chung The Joan Shorenstein Center I PRESS POLITICS Discussion Paper D-28 April 1998 IIPUBLIC POLICY Harvard University John F. Kennedy School of Government The Business of Getting “The Get” Nailing an Exclusive Interview in Prime Time by Connie Chung Discussion Paper D-28 April 1998 INTRODUCTION In “The Business of Getting ‘The Get’,” TV to recover a sense of lost balance and integrity news veteran Connie Chung has given us a dra- that appears to trouble as many news profes- matic—and powerfully informative—insider’s sionals as it does, and, to judge by polls, the account of a driving, indeed sometimes defining, American news audience. force in modern television news: the celebrity One may agree or disagree with all or part interview. of her conclusion; what is not disputable is that The celebrity may be well established or Chung has provided us in this paper with a an overnight sensation; the distinction barely nuanced and provocatively insightful view into matters in the relentless hunger of a Nielsen- the world of journalism at the end of the 20th driven industry that many charge has too often century, and one of the main pressures which in recent years crossed over the line between drive it as a commercial medium, whether print “news” and “entertainment.” or broadcast. One may lament the world it Chung focuses her study on how, in early reveals; one may appreciate the frankness with 1997, retired Army Sergeant Major Brenda which it is portrayed; one may embrace or reject Hoster came to accuse the Army’s top enlisted the conclusions and recommendations Chung man, Sergeant Major Gene McKinney—and the has given us. -
Dictionary of Westerns in Cinema
PERFORMING ARTS • FILM HISTORICAL DICTIONARY OF Historical Dictionaries of Literature and the Arts, No. 26 VARNER When early filmgoers watched The Great Train Robbery in 1903, many shrieked in terror at the very last clip, when one of the outlaws turned toward the camera and seemingly fired a gun directly at the audience. The puff of WESTERNS smoke was sudden and hand-colored, and it looked real. Today we can look back at that primitive movie and see all the elements of what would evolve HISTORICAL into the Western genre. Perhaps the Western’s early origins—The Great Train DICTIONARY OF Robbery was the first narrative, commercial movie—or its formulaic yet enter- WESTERNS in Cinema taining structure has made the genre so popular. And with the recent success of films like 3:10 to Yuma and The Assassination of Jesse James by the Coward Robert Ford, the Western appears to be in no danger of disappearing. The story of the Western is told in this Historical Dictionary of Westerns in Cinema through a chronology, a bibliography, an introductory essay, and hundreds of cross-referenced dictionary entries on cinematographers; com- posers; producers; films like Butch Cassidy and the Sundance Kid, Dances with Wolves, The Good, the Bad, and the Ugly, High Noon, The Magnificent Seven, The Searchers, Tombstone, and Unforgiven; actors such as Gene Autry, in Cinema Cinema Kirk Douglas, Clint Eastwood, Henry Fonda, Jimmy Stewart, and John Wayne; and directors like John Ford and Sergio Leone. PAUL VARNER is professor of English at Abilene Christian University in Abilene, Texas. -
Morrie Gelman Papers, Ca
http://oac.cdlib.org/findaid/ark:/13030/c8959p15 No online items Morrie Gelman papers, ca. 1970s-ca. 1996 Finding aid prepared by Jennie Myers, Sarah Sherman, and Norma Vega with assistance from Julie Graham, 2005-2006; machine-readable finding aid created by Caroline Cubé. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA, 90095-1575 (310) 825-4988 [email protected] ©2016 The Regents of the University of California. All rights reserved. Morrie Gelman papers, ca. PASC 292 1 1970s-ca. 1996 Title: Morrie Gelman papers Collection number: PASC 292 Contributing Institution: UCLA Library Special Collections Language of Material: English Physical Description: 80.0 linear ft.(173 boxes and 2 flat boxes ) Date (inclusive): ca. 1970s-ca. 1996 Abstract: Morrie Gelman worked as a reporter and editor for over 40 years for companies including the Brooklyn Eagle, New York Post, Newsday, Broadcasting (now Broadcasting & Cable) magazine, Madison Avenue, Advertising Age, Electronic Media (now TV Week), and Daily Variety. The collection consists of writings, research files, and promotional and publicity material related to Gelman's career. Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact UCLA Library Special Collections for paging information. Creator: Gelman, Morrie Restrictions on Access Open for research. STORED OFF-SITE AT SRLF. Advance notice is required for access to the collection. Please contact UCLA Library Special Collections for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UC Regents. Literary rights, including copyright, are retained by the creators and their heirs. -
SERIALS - Available in DVD Format
SERIALS - Available in DVD Format Listed in alphabetical order: ACE DRUMMOND 13-Universal John "Dusty" King ADVENTURES OF CAPTAIN AFRICA 15-Columbia John Hart ADVENTURES OF CAPTAIN MARVEL 12-Republic Tom Tyler ADVENTURES OF FRANK AND JESSE JAMES 13-Universal Clayton Moore THE ADVENTURES OF FRANK MERRIWELL 12-Universal Don Briggs ADVENTURES OF RED RYDER 12-Republic Don "Red" Barry ADVENTURES OF REX AND RINTY 12-Mascot Rin Tin Tin THE ADVENTURES OF SIR GALAHAD 15-Columbia George Reeves ADVENTURES OF SMILIN' JACK 13-Universal Tom Brown ADVENTURES OF THE FLYING CADETS 13-Universal Johnny Downs ATOM MAN v/s SUPERMAN 15-Columbia Kirk Alyn BATMAN 15-Columbia Lewis Wilson BATMAN AND ROBIN 15-Columbia Robert Lowery BLACK ARROW 15-Columbia Robert Scott THE BLACK COIN 15-Independent Ralph Graves BLACKHAWK 15-Columbia Kirk Alyn BLACK WIDOW 13-Republic Bruce Edwards BLAKE OF SCOTLAND YARD 15-Independent Ralph Byrd BLAZING THE OVERLAND TRAIL 15-Columbia Dennis Moore BRICK BRADFORD 15-Columbia Kane Richmond BRUCE GENTRY 15-Columbia Tom Neal BUCK ROGERS 12-Universal Buster Crabbe BURN'EM UP BARNES 12-Mascot Jack Mulhall CALL OF THE SAVAGE 13-Universal Noah Berry, Jr. CANADIAN MOUNTIES v/s ATOMIC INVADERS 12-Republic Bill Henry CAPTAIN AMERICA 15-Republic Dick Pucell CAPTAIN MIDNIGHT 15-Columbia Dave O'Brien CAPTAIN VIDEO 15-Columbia Judd Holdren CHICK CARTER, DETECTIVE 15-Columbia Lyle Talbot THE CLUTCHING HAND 15-Independent Jack Mulhall CODY OF THE PONY EXPRESS 15-Columbia Jock Mahoney CONGO BILL 15-Columbia Don McGuire THE CRIMSON GHOST 12-Republic -
The Dally Will Be Partly Sunny, Windy and Warmer with Highs in the Upper 30S to Low 40S
Eastern Illinois University The Keep December 1982 12-10-1982 Daily Eastern News: December 10, 1982 Eastern Illinois University Follow this and additional works at: http://thekeep.eiu.edu/den_1982_dec Recommended Citation Eastern Illinois University, "Daily Eastern News: December 10, 1982" (1982). December. 8. http://thekeep.eiu.edu/den_1982_dec/8 This Book is brought to you for free and open access by the 1982 at The Keep. It has been accepted for inclusion in December by an authorized administrator of The Keep. For more information, please contact [email protected]. Friday, December 10, t 982 The Dally will be partly sunny, windy and warmer with highs in the upper 30s to low 40s. Friday night will be cloudy with a chance of rain or snow and lows in the upper · 20s to low 0s . Eastern llllnols University I Charleaton, Ill. 81 920 I Vol. 88, No. 75 / 28 Pagea 3 Eastern News ------- Wor-kers he-re to share cuts e by Maryqually-Mi Holland- ller An Eastern official told close to 100 non negotiated employees Thursday that spending cuts made necessary by a state shortfall will be shared equally throughout the campus. George Miller, vice president for administration and finance, told non-negotiated workers at Thursday's Civil Serice Council meeting that it is too early to tell how the state shortfall will affect schedul ed salary raises for university employees. "I honestly can't give you any information on it now because that has to come from the governor, the legislature and our own board. We're looking at other people for answers right now," he said. -
Alma Lach's Kitchen
Alma Lach’s Kitchen: Transforming Taste The art of cooking rests upon one’s ability to taste, to reproduce taste, and to create taste. To achieve distinction the cook must taste everything, study cookbooks of all kinds, and experiment constantly in the kitchen. I stress in my writing and teaching the logic of food preparation; for the cook who possesses logic, knows how to create dishes rather than being content merely to duplicate the recipes of others. —Alma Lach In the pioneering culinary era of the mid-twentieth century, Chicago chef Alma Lach was one of the primary figures who transformed traditional American cooking. She did so by introducing the history and principles of French cooking, thus opening midcentury American kitchens to new techniques and ingredients. As a chef, cookbook author, and food consultant, Alma was widely known for her bestselling book, Cooking à la Cordon Bleu (1970), later revised, with added material on regional French cuisine, and published by the University of Chicago Press as Hows and Whys of French Cooking (1974). Alma was a graduate of Le Cordon Bleu cooking school in Paris (Grand Diplôme, 1956). She spent a lifetime exploring taste around the globe. With her husband Donald Lach, the Bernadotte E. Schmitt Professor of History at the University of Chicago, she traveled throughout the world, including Italy, India, France, and China. Her daughter, Sandy Lach Arlinghaus, describes her mother as “doing scholarly research involving great cuisine.” Her education at Le Cordon Bleu helped her see cooking as having a “logical order rather than as an assemblage of a recipe here and there.” Alma thought constantly about food; to her, presentation was an integral part of creating and enjoying great cuisine. -
Off Camera 1109.P65
Jules Power, a Producer of ‘Mr. Wizard’ & ‘Over Easy” Dies at 87 By Dennis Hevesi, The New York Times In its nine-year run, mostly on Sunday mornings, Discovery visited Jules Power (Silver Circle Class of more than a dozen countries, including 1990), who helped break the mold of the Soviet Union, Kenya, Israel, cartoonish children’s shows in the early Japan, Germany and Australia. Ameri- days of television by producing pro- can viewers were exposed to historic grams that entranced youngsters with sites, chess clubs and an elementary basic science and allowed them to school in Moscow, where their coun- roam the world from their living rooms, terparts were learning English. died on October 10 in Baltimore. He Youngsters, Mr. Power told The was 87. New York Times in 1965, are unfamiliar The cause was complications of with the world. “They know that the Alzheimer’s disease, his son, Bob, said. world today is small,” he said, “but Mr. Power was a co-producer of they also feel that it’s strictly for the long-running Mr. Wizard on NBC, adults. This is something we’d like to and then executive producer of Dis- change.” The show won an Emmy® covery on ABC. award for children’s programming and three Thomas His mission was “to expand young minds and fill a Alva Edison Awards. void in afternoon children’s programming,” George Born Jules Pewowar in Chicago on Oct. 19, 1921, W. Woolery wrote in his 1983 book, Children’s Mr. Power was one of three children of Paul and Television: The First 35 Years, 1946-1981. -
Hugh Downs Interview
• NBC NEWS 1 HUGH DOWNS' INT~RVIr.W WITH VICE PRBSIDENT AND MRS. HUMPHREY ON TIE 8:30 A.M. (CDT) S::'All\fl:NT OF "TODAY" ON THURSDAY, AUGUST 29, 1968, LIVE AND IN COLOR ON THE NBC TELEVISION NETWORK. MR. DOWNS: Shortly after he received the Democratic Presidential nomination last night, Vice President Humphrey agreed to tape an inter view at his campaign headquarters here at Chi cago. With him was his wife, Muriel, now ready to endu:C'e the frantic and sometimes inhu man demands made upon a wcx1an who might become a President's First Lady. Here, now, is that taped interview. MR. DOWNS: Mr. Vice President, I think America imagines some of your possibly mixed feel ings of anguish on this night of your triumph at some of the things that we have watched on tele vision, some of the things that have happened here in this convention city, the sight of police men c~ubbing young idealists, many of whom are of the type who may have founded this country, one who Press Department I National Broadcasting Company I 30 Rockefeller Plaza I New York, N.Y. 10020 t 2 might have been at the beginnings of this country a young idealist named Hubert Humphrey. What are your feelings on having seen it as I know you did from the hotel? VICE PRESIDENT HUMPHRk!Y: Well, I saw some of it from the hotel, hut I saw most of it on the television. I have been very concerned this week as to what would develop. -
KING of LATE NIGHT SCREENPLAY Script
THE KING OF LATE NIGHT Written by Patti Vasquez & Kevin Cleary Based on the book THE TONIGHT SHOW by Robert Metz Published by Playboy Press Contact: James Kellem JKA Talent & Literary 12725 Ventura Boulevard Suite H Studio City, CA 91604 FADE IN: INT. TV STUDIO - DAY Image opens on the bright red light of a huge RCA TK30, a large black and white television broadcasting camera, the top of the line network TV studio camera of 1951. SUPERIMPOSE: NEW YORK CITY, 1951 The camera pulls back to reveal the whole television camera and the studio in which it sits. The studio is broadcasting THE TODAY SHOW. DAVE GARROWAY (40), the host of the show, sits at a desk interacting with J. FRED MUGGS, the show’s chimpanzee “co- host”. CUT TO: INT. TV CONTROL ROOM - DAY SYLVESTER “PAT” WEAVER, 43, creator of the Today Show (and The Tonight Show), powerful Executive Vice President of NBC TV and modern programming genius is watching the show on the monitor. Weaver stands behind the show’s director and his crew who sit in front of a large bank of black and white monitors that feature each of the different camera shots. TV DIRECTOR Camera One. The “broadcast” monitor cuts to Garroway and Muggs at the desk. GARROWAY (To Fred) That’s right Fred, humans are silly. (To the camera) We’ll be right back after these commercial messages. TODAY SHOW DIRECTOR Roll commercial. ASSISTANT DIRECTOR We’re out. Back in two minutes. 2. As show goes to commercial the studio explodes into a frenzy of activity from cameramen, make-up people and lighting guys. -
WESTERN FILMS Page 1 of 20
WESTERN FILMS Page 1 of 20 WESTERN FILMS Western Films or Westerns are the major defining genre of the American film industry, a nostaligic eulogy to the early days of the expansive, untamed American frontier (the borderline between civilization and the wilderness). They are one of the oldest, most enduring and flexible genres and one of the most characteristically American genres in their mythic origins. [The popularity of westerns has waxed and waned over the years. Their most prolific era was in the 1930s to the 1960s, and most recently in the 90s, there was a resurgence of the genre. This indigenous American art form focuses on the frontier West that existed in North America. Westerns are often set on the American frontier during the last part of the 19th century (1865-1900) following the Civil War, in a geographically western (trans-Mississippi) setting with romantic, sweeping frontier landscapes or rugged rural terrain. However, Westerns may extend back to the time of America's colonial period or forward to the mid-20th century, or as far geographically as Mexico. A number of westerns use the Civil War, the Battle of the Alamo (1836) or the Mexican Revolution (1910) as a backdrop. The western film genre often portrays the conquest of the wilderness and the subordination of nature, in the name of civilization, or the confiscation of the territorial rights of the original inhabitants of the frontier. Specific settings include lonely isolated forts, ranch houses, the isolated homestead, the saloon, the jail, the livery stable, the small-town main street, or small frontier towns that are forming at the edges of civilization. -
A Framework for Understanding Influences on Potential Educational Policy Outputs
DOCUMENT RESUME ED 424 602 CS 509 930 AUTHOR Yates, Bradford L. TITLE Media Literacy and the Policymaking Process: A Framework for Understanding Influences on Potential Educational Policy Outputs. PUB DATE 1998-06-27 NOTE 31p.; Paper presented at the National Media Literacy and Media Citizenship Conference II (Birmingham, AL, June 27, 1998). PUB TYPE Reports - Descriptive (141) Speeches/Meeting Papers (150) EDRS PRICE MF01/PCO2 Plus Postage. DESCRIPTORS Critical Thinking; *Critical Viewing; *Educational Policy; Elementary Secondary Education; Models; *Policy Formation; *Public Policy; *Television IDENTIFIERS Historical Background; *Media Education; *Media Literacy; Policy Implications ABSTRACT This paper examines some of the key public policy implications of the media literacy movement using D. Easton's (1965) model of the policymaking process. The model has six elements:(1) demands and supports;(2) policymakers;(3) policy outputs;(4) policy outcomes; (5) feedback; and (6) environment. Each element is vital to understanding the policymaking process; however, the most relevant parts of the model for this discussion about media literacy policy issues are the environment and the demands and supports. Highlights of the discussion include a definition of media literacy, an analysis of television's impact on the climate of education, a history of early critical viewing skills programs, an overview of the current media literacy movement, and speculation about future policymaking and its impact. (Contains 1 figure, 4 notes, and 50 references.) (Author/NKA) ******************************************************************************** * Reproductions supplied by EDRS are the best that can be made * * from the original document. * ******************************************************************************** Media Literacy and the Policymaking Process: A Framework for Understanding Influences on Potential Educational Policy Outputs Bradford L. -
Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room.