An Application of the Five Canons of Classical Rhetoric to Television Program Development
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Star Channels, May 20-26
MAY 20 - 26, 2018 staradvertiser.com LEGAL EAGLES Sandra’s (Britt Robertson) confi dence is shaken when she defends a scientist accused of spying for the Chinese government in the season fi nale of For the People. Elsewhere, Adams (Jasmin Savoy Brown) receives a compelling offer. Chief Judge Nicholas Byrne (Vondie Curtis-Hall) presides over the Southern District of New York Federal Court in this legal drama, which wraps up a successful freshman season. Airing Tuesday, May 22, on ABC. WE’RE LOOKING FOR PEOPLE WHO HAVE SOMETHING TO SAY. Are you passionate about an issue? An event? A cause? ¶ũe^eh\Zga^eirhn[^a^Zk][r^fihp^kbg`rhnpbmama^mkZbgbg`%^jnbif^gm olelo.org Zg]Zbkmbf^rhng^^]mh`^mlmZkm^]'Begin now at olelo.org. ON THE COVER | FOR THE PEOPLE Case closed ABC’s ‘For the People’ wraps Deavere Smith (“The West Wing”) rounds example of how the show delves into both the out the cast as no-nonsense court clerk Tina professional and personal lives of the charac- rookie season Krissman. ters. It’s a formula familiar to fans of Shonda The cast of the ensemble drama is now part Rhimes, who’s an executive producer of “For By Kyla Brewer of the Shondaland dynasty, which includes hits the People,” along with Davies, Betsy Beers TV Media “Grey’s Anatomy,” “Scandal” and “How to Get (“Grey’s Anatomy”), Donald Todd (“This Is Us”) Away With Murder.” The distinction was not and Tom Verica (“How to Get Away With here’s something about courtroom lost on Rappaport, who spoke with Murder”). -
SYLLABUS “If You Want to Speak to the World,” Said Tolstoy, “Speak Of
Powers !1 of !20 Syllabus 529 SYLLABUS Wells Writing Division CTWR 529 Fall 2017 Intermediate Screenwriting Wednesdays, 7:00pm – 10:00pm CSA 362 INSTRUCTOR INFORMATION" Lecturer: Wayne Powers" Phone: 424-666-4443" Email: (awaiting USC email address)" O#ce Hours: 5-7 and 10-11 Wednesdays BY APPOINTMENT ONLY" “If you want to speak to the world,” said Tolstoy, “speak of your own village.” GOALS OF THE COURSE:" In this intermediate screenwriting course, I will combine what I learned as a student at USC Film School, my alma mater, with what I learned in my professional career in film and television starting when I was twenty-three years old. " There are 293 ways to make change for a dollar, and probably more ways to write a screenplay. I will focus on ways that have worked for me (usually) and that coincide Powers !2 of !20 Syllabus 529 with USC philosophies like that character is more important than plot, and how to make personal scripts even if you’re writing a genre motion picture. " This course aims to sharpen your storytelling and screenwriting skills through practical writing experience in the short-film form, leading to an extensive introduction to shaping a feature film story. You will further explore your abilities to write screenplays that follow the Western narrative tradition: A strong premise; clear focus on all your characters wants versus their needs; writing through visuals; a three act structure; creating sequences; learning “approaches” and using other tools of the craft in both short films and features." You will learn through discussions to evaluate scripts and how to give constructive feedback." I will give lectures, have in-class exercises, give tips on how to pitch, and watch films that highlight our topics, and, in a safe supportive environment we will workshop your assignments. -
Henry Jenkins Convergence Culture Where Old and New Media
Henry Jenkins Convergence Culture Where Old and New Media Collide n New York University Press • NewYork and London Skenovano pro studijni ucely NEW YORK UNIVERSITY PRESS New York and London www.nyupress. org © 2006 by New York University All rights reserved Library of Congress Cataloging-in-Publication Data Jenkins, Henry, 1958- Convergence culture : where old and new media collide / Henry Jenkins, p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8147-4281-5 (cloth : alk. paper) ISBN-10: 0-8147-4281-5 (cloth : alk. paper) 1. Mass media and culture—United States. 2. Popular culture—United States. I. Title. P94.65.U6J46 2006 302.230973—dc22 2006007358 New York University Press books are printed on acid-free paper, and their binding materials are chosen for strength and durability. Manufactured in the United States of America c 15 14 13 12 11 p 10 987654321 Skenovano pro studijni ucely Contents Acknowledgments vii Introduction: "Worship at the Altar of Convergence": A New Paradigm for Understanding Media Change 1 1 Spoiling Survivor: The Anatomy of a Knowledge Community 25 2 Buying into American Idol: How We are Being Sold on Reality TV 59 3 Searching for the Origami Unicorn: The Matrix and Transmedia Storytelling 93 4 Quentin Tarantino's Star Wars? Grassroots Creativity Meets the Media Industry 131 5 Why Heather Can Write: Media Literacy and the Harry Potter Wars 169 6 Photoshop for Democracy: The New Relationship between Politics and Popular Culture 206 Conclusion: Democratizing Television? The Politics of Participation 240 Notes 261 Glossary 279 Index 295 About the Author 308 V Skenovano pro studijni ucely Acknowledgments Writing this book has been an epic journey, helped along by many hands. -
Art of the X-Files
On May 19th 2013, fans of The X-Files were given a rare treat; a chance to spend time with the minds behind the art of The X-Files. The event, held at the iconic Egyptian Theater in Los Angeles, and celebrated by the Art Directors Guild Film Society, the American Cinematheque, and The Hollywood Reporter, brought together production designer Corey Kaplan (The X-Files, Scandal, Cold Case, Robbery Homicide Division), writer-producer-director Vince Gilligan (The X-Files, Breaking Bad, The Lone Gunmen, Harsh Realm) and Creator-Writer-Producer-Director Chris Carter (The X-Files, Harsh Realm, Millennium, The Lone Gunmen). Moderated by production designer John Muto (Home Alone, River’s Edge, Terminator 2 3-D), the event presented the art and design of The X-Files by screening “Je Souhaite” and “Triangle” and included a panel discussion. What made this event unique is that as a television viewing audience, we often celebrate and obsess over actors, and at times writers and producers. We become deeply connected to the characters and to the story of the hardships they face. However, the world that is created by the Art Department under the guidance of the Production Designer often goes unmentioned. This is likely due to the ability of the visual medium to submerse the viewer into an environment so compelling that we momentarily suspend belief. We forget the complexities of set design and construction, of picking out the right costumes and maintaining outfit continuity, of choosing makeup that both enhances the character yet seems realistic, of creating convincing special effects, and the arduous search for the perfect location. -
Thesis Submitted for the Degree of Doctor of Philosophy University of Bath Department of Pharmacy and Pharmacology April 2013
University of Bath PHD Evaluating digital vascular perfusion and platelet dysfunction in Raynaud’s phenomenon and systemic sclerosis Pauling, John Award date: 2013 Awarding institution: University of Bath Link to publication Alternative formats If you require this document in an alternative format, please contact: [email protected] General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 07. Oct. 2021 Evaluating digital vascular perfusion and platelet dysfunction in Raynaud’s phenomenon and systemic sclerosis submitted by John D Pauling A thesis submitted for the degree of Doctor of Philosophy University of Bath Department of Pharmacy and Pharmacology April 2013 COPYRIGHT Attention is drawn to the fact that copyright of this thesis rests with the author. A copy of this thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that they must not copy it or use material from it except as permitted by law or with the consent of the author. -
Production Process
http://www.skillset.org/film/business/# Production Process Inspiration These are the sources which they will use to seek ideas for a film, e.g. TV, Example Newspaper and books. Producer This is the person who will stay with the production all the way through, from start to end. Director The director is chosen by the producer, IDEA and inputs his ideas into the production Writer Chosen by the producer, who clarifies the plot, characters etc. Treatment A one page description (inc. characters) written by the writer Pitch A crucial part so that the producer can ͚sell͛ the film to financiers. Pitching The Project Producers uses ͚treatment Example & pitch͛ to sell the film to financiers Production Companies Producer approaches these companies for development monies Development Sales/Distribution/Broadcast The Producers offers broadcast rights in return for money Finance Public Investment The producer can also apply for money from public funding companies such as UK Film Council Private Finance The Producer pitches the film to these for money in return for advertising etc. Tying Down the Writer The producer will now use the money invested to secure the writer Synopsis The producer and writer agree on key Example points of the film (scenes & events) Step Outline The writer (in conjunction with producer) creates a detailed plan of events for the Script film Development Drafts First ever copy of the script is written to be proof read many times Revision Draft is sent to financiers for their input Final Draft When everyone is happy this is done, and the writer gets paid Sales Treatment Final stage of script development which includes events to help market it. -
"This Murder Done": Misogyny, Femicide, and Modernity in 19Th- Century Appalachian Murder Ballads
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 8-2011 "This Murder Done": Misogyny, Femicide, and Modernity in 19th- Century Appalachian Murder Ballads Christina Ruth Hastie [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the American Popular Culture Commons, Cultural History Commons, History of Gender Commons, Musicology Commons, Other Feminist, Gender, and Sexuality Studies Commons, United States History Commons, Women's History Commons, and the Women's Studies Commons Recommended Citation Hastie, Christina Ruth, ""This Murder Done": Misogyny, Femicide, and Modernity in 19th-Century Appalachian Murder Ballads. " Master's Thesis, University of Tennessee, 2011. https://trace.tennessee.edu/utk_gradthes/1045 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Christina Ruth Hastie entitled ""This Murder Done": Misogyny, Femicide, and Modernity in 19th-Century Appalachian Murder Ballads." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Music, with a major -
Contemporary Irish Poetry and the Canon, New Directions in Irish and Irish American Literature, DOI 10.1007/978-3-319-51112-2 232 BIBLIOGRAPHY
BIBLIOGRAPHY A Poem for Ireland. “About: Ten Poems for Ireland. Which is Your Best-Loved?” Accessed 9 October 2016. http://apoemforireland.rte.ie/about/. ———. “Our Jury”. Accessed 9 October 2016. http://apoemforireland.rte.ie/ jury/. ———. “Terms and Conditions”. Accessed 9 October 2016. http://apoemforire land.rte.ie/terms-conditions/. Alcobia-Murphy, Shane. “‘My Cleverly Dead and Vertical Audience’: Medbh McGuckian’s ‘Difficult’ Poetry”. New Hibernia Review 16.3 (2012): 67–82. Allen, Michael. “Horse-People and Others”. Review of Mules, by Paul Muldoon. Honest Ulsterman 56 (1977): 136–41. ———. “The Poetry of Medbh McGuckian”.InContemporary Irish Poetry: A Collection of Critical Essays, edited by Elmer Andrews, 286–309. Basingstoke: Macmillan, 1992. Allen-Randolph, Jody, and Eavan Boland. “An Interview with Eavan Boland”. Irish University Review 23.1 (1993): 117–30. Allison, Jonathan. “Questioning Yeats: Paul Muldoon’s ‘7, Middagh Street’”.In Learning the Trade: Essays on W. B. Yeats and Contemporary Poetry, edited by Deborah Fleming, 3–20. West Cornwall, CT: Locust Hill, 1993. ———. “Acts of Memory: Poetry and the Republic of Ireland Since 1949”.In Writing in the Irish Republic: Literature, Culture, Politics 1949–1999, edited by Ray Ryan, 44–63. Basingstoke: Macmillan, 2000. “Ancrene Wisse”.InAnchoritic Spirituality: Ancrene Wisse and Associated Works, edited by Anne Savage and Nicholas Watson, 41–208. Mahwah, NJ: Paulist, 1991. © The Author(s) 2017 231 K. Keating, Contemporary Irish Poetry and the Canon, New Directions in Irish and Irish American Literature, DOI 10.1007/978-3-319-51112-2 232 BIBLIOGRAPHY Andrews, Elmer, ed. Seamus Heaney: A Collection of Critical Essays. Basingstoke: Macmillan, 1992. -
19-NU-1080 Master of Fine Arts in Digital Cinema Production.Indd
NATIONAL UNIVERSITY COLLEGE OF PROFESSIONAL STUDIES MASTER OF FINE ARTS IN DIGITAL CINEMA PRODUCTION Develop Your Skill Set for a Dynamic Media Marketplace LEARN In this graduate program you’ll learn to produce Program highlights: MORE engaging visual content by combining professional Learn the professional practices and digital cinema techniques with leading-edge digital workflow used to produce digital media TODAY media tools. The program blends Hollywood content and independent film traditions and gives you Practice the creative process used to produce hands-on experience in the professional film quality content for a variety of digital production disciplines. Because the coursework platforms is presented in an online/hybrid format, the program allows students living outside the Develop visual and narrative techniques to major media markets the chance to study film craft your own aesthetic style production with film industry professionals Collaborate with a creative team to produce both online and onsite during the digital and edit a short film shot on a RED 4K cinema production residency in Los Angeles. Digital Cinema camera During the program you will produce several Produce an original short digital motion short digital film projects and a thesis film, and picture suitable for submission to a film upon graduation you will be prepared to festival and distribution on the internet produce your own professional media projects and teach in film and media arts programs at the college and university level. Online and On-campus Programs Monthly Starts and Accelerated Classes WSCUC Accredited Veteran Founded. Nonprofit. I NU.EDU Accredited by the WASC Senior College and University Commission (WSCUC). -
Creating Movie Scripts – HUAS 6352 Fall '16 Syllabus Tuesday 4Pm – 6:45Pm FN 2.204
Creating Movie Scripts – HUAS 6352 Fall '16 Syllabus Tuesday 4pm – 6:45pm FN 2.204 Noah Zisman [email protected] Phone: TBA Office Hours: by appt. Location: ATEC 1.505 COURSE MATERIALS: TEXTS: “The Tools of Screenwriting”, David Howard & Edward Mabley “Making a Good Script Great”, Linda Seger SOFTWARE: Final Draft is recommended for this course – as it is the industry standard. However, the steep price may dissuade you. There are several other screenwriting programs out there including some free ones like WriterDuet (https://writerduet.com). Please Note: If you do get Final Draft, you do not need Final Draft AV for the purposes of this class. In order to cogently participate in class you will need to watch the films we are talking about. All of the films listed in this course will be available to rent online. This is part of the expense of the class. Amazon allows movie rentals, as does YouTube. Check these sites below for other possible resources: http://www.canistream.it https://www.justwatch.com/us Course Description: This course will introduce you to feature film screenwriting. We will explore the basic theory and formal aspects of story structure, character development, use of conflict, scene writing and dialogue. We will then apply these basic dramatic principles to the development of your own original material. Since much of the work of screenwriting is done before the actual drafting, this class will focus on the process of screenwriting: from the initial premise, through character exploration, to treatments and step-outlines, then writing your first draft. With the help of your peers in workshop, you will leave this course with a solid understanding of the fundamentals of feature screenwriting. -
The Tools of Screenwriting
$14.95/ $17.25 Can. "What David Howard has done with The Tools of Screenwritin is to n The Tools of Screenwriting, David reveal for me and for all readers just Howard and �dward Mabley illuminate how stories work; he shows that the essential elements of cinematic there are no absolute rules, but there are principles that can help a begin storytelling, and reveal the central ning writer gain understanding of all · principles that all good screenplays the elements that go into the cre share. The authors address questions of ation of a'good story well told.' " dramatic structure, plot, dialogue, charac ter development, setting, imagery, and other crucial topics as they apply to the '�is the special art of filmmaking. best primer on the craft, far better than the usual paint-by-the-numbers Howard and Mabley also demonstrate sort of books that abound." how the tools of screenwriting work in six teen notable films, including Citizen Kane, �.T., One Flew Over the Cuckoo's Nest, Rashomon, The Godfather, North by Northwest, Chinatown, and sex, lies and videotape. "As my screenwriting teacher, David The Tools of Screenwriting is an essen Howard made the underlying princi tial book for anyone who studies film or ples of screenwriting clear, accessi ble, and useful. The same can be said wants to write a screenplay. of his succinct and elegant book, which I've already used as a much needed refresher course. It's sitting "David Howard calls this book 'a next to my computer now, right next writer's guide.' I think it's a wonder to the thesaurus." ful and indispensable producer's guide to story, storytelling, and screenwriting." ISBN-13: 978-0-312-11908-9 ISBN-IO: 0-312-11908-9 51 495> I 1 9 "780312 119089 I PRAIS E FOR THIS BOOK "David Howard and Edward Mabley's The To ols of Screen writing is a prac tical, comprehensive guide for writers at all levels. -
AT&T Inc Warnermedia Day 2019 on October 29, 2019 / 10:00PM
Client Id: 77 THOMSON REUTERS STREETEVENTS EDITED TRANSCRIPT T - AT&T Inc WarnerMedia Day 2019 EVENT DATE/TIME: OCTOBER 29, 2019 / 10:00PM GMT THOMSON REUTERS STREETEVENTS | www.streetevents.com | Contact Us ©2019 Thomson Reuters. All rights reserved. Republication or redistribution of Thomson Reuters content, including by framing or similar means, is prohibited without the prior written consent of Thomson Reuters. 'Thomson Reuters' and the Thomson Reuters logo are registered trademarks of Thomson Reuters and its affiliated companies. Client Id: 77 OCTOBER 29, 2019 / 10:00PM, T - AT&T Inc WarnerMedia Day 2019 CORPORATE PARTICIPANTS Andy Forssell Warner Media, LLC - Executive VP & GM of Streaming Service Ann M. Sarnoff Warner Bros. Entertainment Inc. - Chairman & CEO Casey Bloys Home Box Office, Inc. - President of Programming John Joseph Stephens AT&T Inc. - Senior EVP & CFO John T. Stankey AT&T Inc. - President & COO of AT&T Inc. and CEO of WarnerMedia Kevin Reilly Turner Broadcasting System, Inc. - Chief Creative Officer and President of TBS & TNT Michael J. Viola AT&T Inc. - SVP of IR Michael Quigley Randall L. Stephenson AT&T Inc. - Chairman & CEO Robert Greenblatt Sarah Aubrey CONFERENCE CALL PARTICIPANTS Colby Alexander Synesael Cowen and Company, LLC, Research Division - MD & Senior Research Analyst David William Barden BofA Merrill Lynch, Research Division - MD Jeffrey Thomas Kvaal Nomura Securities Co. Ltd., Research Division - MD of Communications Jennifer Fritzsche Wells Fargo Securities, LLC, Research Division - MD & Senior Analyst John Christopher Hodulik UBS Investment Bank, Research Division - MD, Sector Head of the United States Communications Group and Telco & Pay TV Analyst Michael Rollins Citigroup Inc, Research Division - MD and U.S.