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8 TV Power Games: Friends and Law & Order
8 TV Power Games: Friends and Law & Order There is no such thing as a one-man show | at least not in television: one feature that all TV shows have in common is the combination of a large number of diverse contributors: producers, scriptwriters, actors, and so on. This is illustrated in Exhibit 8.1, which depicts the links between key contributors to the making and selling of a TV show. Solid lines repre- sent some form of contractual relationship, whereas dashed lines represent non-contractual relationships of relevance for value creation and value distribution. As is the case with movies, pharmaceutical drugs, and other products, the distribution of TV show values is very skewed: many TV shows are worth relatively little, whereas a few shows generate a very high value: For example, at its peak Emmy Award-winning drama ER fetched $13 million per episode.1 How does the value created by successful shows get divided among its various contrib- utors, in particular actors, producers and networks? Who gets the biggest slice of the big pie? In this chapter, I address this question by looking at two opposite extreme cases in terms of relative negotiation power: Law & Order and Friends. Law & Order | and profits The legal drama series Law & Order was first broadcast on NBC on September 13, 1990. (The pilot episode, produced in 1988, was intended for CBS, but the network rejected it, just as Fox did later, in both cases because the show did not feature any \breakout" characters.) By the time the last show aired on May 24, 2010, it was the longest-running crime drama on American prime time TV. -
Stephen J. Cannell, 1941-2010
STEPHEN J. CANNELL, 1941-2010 Stephen J(oseph) Cannell was born February 5, 1941 to Joseph Cannell, a Pasadena, California entrepreneur. Cannell struggled through his early school years, flunking three different grades of elementary, junior or senior high school, and regularly failing his English classes. Years later, when having one of his own children tested for dyslexia, he discovered that he had suffered from it his entire life. Never the less, he had a passionate love for writing, despite his difficulties with the written word, and set a goal for himself to become a best-selling author. After attending the University of Oregon on a football scholarship and meeting creative writing teachers that bolstered his confidence, Cannell married his high school sweetheart and went to work for his family’s business – driving a furniture truck all day. In the evenings, he set a rigorous writing schedule for himself – writing 5 hours a day, 7 days a week, on spec. He decided that his target market would be the burgeoning television scene, and after 6 years without a sale, he finally sold a script – to the series Ironside. After a few more sales, he caught the eye of the legendary writer/producer Jack Webb, who first hired him to be story editor and ultimately head writer for Adam-12. Cannell was contracted to Universal Television, writing and producing shows for that studio during the early-to-mid 1970s. While there, he produced Chase and wrote for and produced Toma, about real-life New York City detective David Toma. While producing Toma, Cannell and his mentor Roy Huggins (creator of Maverick, and many other tv series) wrote an episode that ended up getting rewritten to serve as a pilot for a series about an unorthodox Southern California P.I. -
So Many Traps to Set: Subversions and Subversiveness in Profit
254 GRAAT On-Line issue #6 December 2009 “So many traps to set”: subversion and subversiveness in Profit1 Jean Du Verger Université René Descartes - Paris V. Profit, created by David Greenwalt and John McNamara, produced by Stephen J. Cannell and starring Adrian Pasdar as Jim Profit, was first aired on Fox Broadcasting Company in April 1996 and axed after just four episodes2 (out of the eight originally filmed and scheduled). Probably one of the most controversial and category-defying television serials ever, it portrays Jim Profit, a ruthless and ambitious junior executive, whose hidden agenda is progressively unveiled as he climbs the corporate ladder of the multinational conglomerate Gracen & Gracen (G&G). While throwing into sharp relief the shadowy recesses of corporate America, the series also distorts the dominant ideological and aesthetic patterns of traditional television series, as it develops a subversive discourse on American society. Profit mirrors the complex cultural currents and counter currents that run through American society, provocatively depicting such aspects as the workplace, family values and sexuality. Profit is probably one of the most tantalizing and riveting dramas in television‘s recent history, not only on account of the themes it discusses, but because of its reversal of traditional televisual codes, which contributes to the viewer‘s entrapment in a complex and elaborate narrative structure. This paper will, therefore, discuss the narratological implications of the show‘s Chinese box narrative pattern, highlighting the way in which it subverts the traditional textual structures of television series. I will then examine the camera‘s discourse which, in conveying an impression of fragmentation, imparts a puzzle-like 255 dimension to the narrative overall. -
3Rd QUARTER 2018 EFFECTIVE 8/3/18
EFFECTIVE 8/3/18 3rd QUARTER 2018 MONDAY - FRIDAY SATURDAY SUNDAY 6:00a Adventures of Superman 6:00a Maverick Tarzan 6:30a Adventures of Superman 6:30a 7:00a Wanted: Dead or Alive Batman 7:00a Tarzan 7:30a Wanted: Dead or Alive Batman 7:30a 8:00a Have Gun, Will Travel 8:00a Tarzan Daniel Boone 8:30a Have Gun, Will Travel 8:30a 9:00a Travel Thru History (E/I) 9:00a Rawhide Tarzan 9:30a The Coolest Places on Earth (E/I) 9:30a 10:00a Zoo Clues (E/I) 10:00a The High Chaparral The Greatest American Hero 10:30a Walking Wild (E/I) 10:30a 11:00a Real Stories of the Highway Patrol Safari (E/I) 11:00a The Greatest American Hero 11:30a Real Stories of the Highway Patrol Safari (E/I) 11:30a 12:00p Swamp Thing 12:00p The Incredible Hulk 12:30p Swamp Thing 12:30p 1:00p 1:00p Sheena The Incredible Hulk 1:30p 1:30p 2:00p 2:00p Xena: Warrior Princess The Greatest American Hero 2:30p 2:30p 3:00p 3:00p Xena: Warrior Princess Relic Hunter 3:30p 3:30p 4:00p 4:00p Hercules: The Legendary Journeys Relic Hunter 4:30p 4:30p 5:00p 5:00p Hercules: The Legendary Journeys BeastMaster 5:30p 5:30p 6:00p 6:00p Renegade BeastMaster 6:30p 6:30p 7:00p 7:00p Black Sheep Squadron Black Sheep Squadron 7:30p 7:30p 8:00p 8:00p Star Trek: Original Black Sheep Squadron Star Trek: Original 8:30p 8:30p 9:00p 9:00p Star Trek: The Next Generation Hunter Star Trek: The Next Generation 9:30p 9:30p 10:00p 10:00p Star Trek: Deep Space Nine Hunter Star Trek: Deep Space Nine 10:30p 10:30p 11:00p 11:00p Star Trek: Voyager Wiseguy Star Trek: Voyager 11:30p 11:30p 12:00a 12:00a Star Trek: Enterprise Wiseguy Star Trek: Enterprise 12:30a 12:30a 1:00a 1:00a Xena: Warrior Princess The Commish The Incredible Hulk 1:30a 1:30a 2:00a 2:00a Xena: Warrior Princess The Commish The Incredible Hulk 2:30a 2:30a 3:00a Swamp Thing 3:00a Hercules: The Legendary Journeys 21 Jump Street 3:30a Swamp Thing 3:30a 4:00a 4:00a Hercules: The Legendary Journeys 21 Jump Street Tarzan 4:30a 4:30a 5:00a The Cisco Kid 5:00a Cheyenne Tarzan 5:30a Trackdown 5:30a ALL TIMES EASTERN/PACIFIC • SUBJECT TO CHANGE COLOR INDICATES CHANGE TO SCHEDULE . -
Vancouver's Serinda Swan Gets Real in New CBC Drama Coroner
Vancouver's Serinda Swan gets real in new CBC drama Coroner Swan stars as a Toronto coroner who has to raise her teenage son on her own after her husband's sudden death. Dana Gee Updated: January 7, 2019 Coroner Where: CBC When: Jan. 7, 9 p.m. Info: cbc.ca Serinda Swan felt there was more to her new TV character coroner Jenny Cooper than the study of bodily fluids, skin tissue and blood spray patterns. Swan felt Cooper, the lead in the new CBC drama Coroner, had an internal life that was also ripe for dissection. “I really want to keep her as human as possible. I donʼt want her to be a coroner that happens to be a person. I wanted her to be a person who happens to be a coroner,” Swan said she told Coroner execuitve producer and director Adrienne Mitchell and showrunner/creator Morwyn Brebner when they were discussing the role. “I wanted to be able to lead with her humanity. I wanted to lead with everything she feels.” In the new eight-part series we meet Swan just as her husband has dropped dead. Once an emergency room doctor, Swanʼs mounting anxiety has forced her to make big changes and navigate new, very often, emotional waters. To help start anew she packs up her teenage son moves to Toronto and takes a job as a coroner. The CBC drama Corner stars Serinda Swan as coroner Jenny Cooper. Photo: Ben Mark Holzberg Ben Mark Holzberg / PNG “First and foremost itʼs watching a womanʼs experience in this new life,” added Swan, who grew up in West Vancouver but has called Los Angeles home since 2009. -
Keep It Down
COVER STORY..............................................................2 The Sentinel FEATURE STORY...........................................................3 SPORTS.....................................................................4 MOVIES............................................................8 - 22 WORD SEARCH/ CABLE GUIDE.......................................10 COOKING HIGHLIGHTS..................................................12 SUDOKU..................................................................13 tvweek STARS ON SCREEN/Q&A..............................................23 December 25 - 31, 2016 Keep it down Noah Wyle as seen in “The Librarians” Ewing Brothers 2 x 3 ad www.Since1853.com While the rest of the team sets out to recover the Eye of Ra and solve the mystery of the Bermuda Triangle, Flynn (Noah Wyle, “ER”) learns a great deal about himself in a new episode of “The Librarians,” airing Sunday, 630 South Hanover Street Dec. 25, on TNT. The series follows a group of Librarians tasked with retrieving powerful artifacts, solving Carlisle•7 17-2 4 3-2421 mysteries and battling supernatural threats to mankind. Rebecca Romijn (“X-Men,” 2000) and Christian Kane Steven A. Ewing, FD, Supervisor, Owner (“Leverage”) also star. 2 DECEMBER 24 CARLISLE SENTINEL cover story the other Librarians on their The other members of the many harrowing adventures. team each possess unique skills Stacks of thrills However, now that she and that help them on their many Carsen are romantically in- quests. Kane is Oklahoma-born Season 3 of ‘The Librarians’ in full swing on TNT volved, she struggles to keep cowboy Jacob Stone, the per- her feelings for him from get- fect combination of brains and By Kyla Brewer The big news this season is ting in the way of her duty to brawn, thanks to his knowledge TV Media the return of Noah Wyle, who protect the others. of art, architecture and history. -
Open Cho YS Thesis.Pdf
The Pennsylvania State University The Graduate School College of Communications COMPETITION AND PROGRAM TYPE DIVERSITY IN THE OVER-THE-AIR TELEVISION INDUSTRY, 1943-2005 A Thesis in Mass Communications by Young Shin Cho © 2007 Young Shin Cho Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy August 2007 The thesis of Young-Shin Cho was reviewed and approved* by the following: Richard Taylor Palmer Chair of Telecommunications Studies and Law Thesis Advisor Chair of Committee Matt Jackson Associate Professor of Communications Krishna Jayakar Associate Professor of Communications Lynette Kvasny Assistant Professor of Information Sciences and Technology John S. Nichols Professor of Communications Associate Dean for Graduates Studies and Research *Signatures are on file in the Graduate School ABSTRACT Competition and diversity are touchstones in media policy, but the relationship between them is not clear despite a great number of studies because even studies dealing with their relationship, did not measure the intensity of competition. This paper investigates the relationship between market competition and program type diversity in the over-the-air television industry. Specifically, market competition is divided into intra-network competition and intra-media competition, i.e. terrestrial television vs. cable TV. Also this paper uses a comprehensive model of program types, with 281 program type categories, which have never been used in previous studies. The results show that program type diversity keeps decreasing over time and intra-network competition has a negative effect on program type diversity. Also, intra- network competition is a more important factor on program type diversity than inter- media competition. -
Stereotypes of Law Enforcement in Television
UNLV Retrospective Theses & Dissertations 1-1-2006 Stereotypes of law enforcement in television Phillip Michael Kopp University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/rtds Repository Citation Kopp, Phillip Michael, "Stereotypes of law enforcement in television" (2006). UNLV Retrospective Theses & Dissertations. 1952. http://dx.doi.org/10.25669/b07u-pkrd This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in UNLV Retrospective Theses & Dissertations by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. STEREOTYPES OF LAW ENFORCEMENT IN TELEVISION by Phillip Michael Kopp Associate of Science Riverside Community College 2000 Bachelor of Science California Baptist University 2003 A thesis submitted in partial fulfillment of the requirement for the Master of Arts Degree in Criminal Justice Department of Criminal Justice Greenspun College of Urban Affairs Graduate College University of Nevada, Las Vegas May 2006 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 1436765 INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. -
Making the Teamsters Safe for Democracy
Essay Making the Teamsters Safe for Democracy George Kannart INTRODUCTION: CHANGING DRIVERS Hollywood at last has cast its glamorizing gaze upon the Teamsters.' A century after Homestead-long past the time when Sam Peckinpah and others made the big screen safe for graphic violence-the bloody organizing struggles of the modem labor movement have suddenly been deemed suitable for family viewing. And yet, for all its size and influence, the International Brotherhood of Teamsters2 was made to wait its turn. In terms of cinematic history, Don Vito Corleone, who first appeared on screen more than twenty years ago, is old enough to be the current Hoffa's godfather. t Professor of Law, State University of New York at Buffalo. Thanks are owed to Dawn Baksh, Jean- Christophe Agnew, Dianne Avery, Guyora Binder, Aviam Soifer, and especially to James B. Atleson and Ellen V. Weissman. Indispensable research assistance was provided by Oren L. Zeve. The author served as an uncompensated technical advisor to the new International Brotherhood of Teamsters administration with respect to the Rules and Procedures of its Ethical Practices Committee. All analyses, opinions, and conclusions expressed herein are strictly and exclusively the author's own, and they do not reflect the views, opinions, attitudes, or conclusions of any other individual or entity. 1. HOFFA (Twentieth Century Fox 1992). The many distortions and inaccuracies contained in this fictionalized, romanticized, and unavoidably heroic entertainment are detailed in Sean Wilentz, Tales of Hoffa: A Movie's Shady Connections and Disconnections, NEWVREPUBLIC, Feb. 1, 1993, at 53. See also A.H. Raskin, Was Jimmy Hoffa a Hood? Or Was He a Robin Hood?, N.Y. -
3Rd QUARTER 2018 EFFECTIVE 7/8/18
EFFECTIVE 7/8/18 3rd QUARTER 2018 MONDAY - FRIDAY SATURDAY SUNDAY 6:00a Adventures of Superman 6:00a Maverick Tarzan 6:30a Adventures of Superman 6:30a 7:00a Wanted: Dead or Alive Batman 7:00a Tarzan 7:30a Wanted: Dead or Alive Batman 7:30a 8:00a Have Gun, Will Travel 8:00a Tarzan Daniel Boone 8:30a Have Gun, Will Travel 8:30a 9:00a Travel Thru History (E/I) 9:00a Rawhide Tarzan 9:30a The Coolest Places on Earth (E/I) 9:30a 10:00a Zoo Clues (E/I) 10:00a The High Chaparral The Greatest American Hero 10:30a Walking Wild (E/I) 10:30a 11:00a Real Stories of the Highway Patrol Safari (E/I) 11:00a The Greatest American Hero 11:30a Real Stories of the Highway Patrol Safari (E/I) 11:30a 12:00p Swamp Thing 12:00p The Incredible Hulk 12:30p Swamp Thing 12:30p 1:00p 1:00p Sheena The Incredible Hulk 1:30p 1:30p 2:00p 2:00p Xena: Warrior Princess The Greatest American Hero 2:30p 2:30p 3:00p 3:00p Xena: Warrior Princess Relic Hunter 3:30p 3:30p 4:00p 4:00p Hercules: The Legendary Journeys Relic Hunter 4:30p 4:30p 5:00p 5:00p Hercules: The Legendary Journeys BeastMaster 5:30p 5:30p 6:00p 6:00p Renegade BeastMaster 6:30p 6:30p 7:00p 7:00p Black Sheep Squadron Black Sheep Squadron 7:30p 7:30p 8:00p 8:00p Star Trek: Original Black Sheep Squadron Star Trek: Original 8:30p 8:30p 9:00p 9:00p Star Trek: The Next Generation Hunter Star Trek: The Next Generation 9:30p 9:30p 10:00p 10:00p Star Trek: Deep Space Nine Hunter Star Trek: Deep Space Nine 10:30p 10:30p 11:00p 11:00p Star Trek: Voyager Wiseguy Star Trek: Voyager 11:30p 11:30p 12:00a 12:00a Star Trek: Enterprise Wiseguy Star Trek: Enterprise 12:30a 12:30a 1:00a 1:00a Xena: Warrior Princess The Commish The Incredible Hulk 1:30a 1:30a 2:00a 2:00a Xena: Warrior Princess The Commish The Incredible Hulk 2:30a 2:30a 3:00a Swamp Thing 3:00a Hercules: The Legendary Journeys 21 Jump Street 3:30a Swamp Thing 3:30a 4:00a 4:00a Hercules: The Legendary Journeys 21 Jump Street Tarzan 4:30a 4:30a 5:00a The Cisco Kid 5:00a Cheyenne Tarzan 5:30a Trackdown 5:30a ALL TIMES EASTERN/PACIFIC SUBJECT TO CHANGE. -
Master Document Template
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by UT Digital Repository Copyright by Russ Eugene Hatchell 2018 The Thesis Committee for Russ Eugene Hatchell certifies that this is the approved version of the following thesis Sci-Fi TV in the Great White North: The Development of Vancouver as a Science Fiction Media Capital APPROVED BY SUPERVISING COMMITTEE: Joseph D. Straubhaar, Supervisor Alisa Perren Sci-Fi TV in the Great White North: The Development of Vancouver as a Science Fiction Media Capital by Russ Eugene Hatchell Thesis Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin August 2018 Acknowledgements I would like to thank my committee members, Joseph D. Straubhaar and Alisa Perren, for their unwavering support and exceptional guidance throughout this research project. Their assistance has been invaluable to me. I would also like to thank my cohort of classmates and fellow RTF graduate students for their mentorship and friendship over the past two years. iv Abstract Sci-Fi TV in the Great White North: The Development of Vancouver as a Science Fiction Media Capital Russ Eugene Hatchell, M.A. The University of Texas at Austin, 2018 Supervisor: Joseph D. Straubhaar Over the past three decades, Vancouver has emerged as a favorable destination for Hollywood television productions. Many academics have noted this trend as a result of industrial shifts within Hollywood, favorable economic conditions in Canadian locales, and a cultural proximity between the United States and Canada. -
February 21, 1991
OPINION 20ISPORTS ^mes ^fedison IMveisity THURSDAY FEBRUARY 21.1991 VOL. 68, NO. 40 Ising honored for environmental involvement Bam—Mia stqffwruer. Beth Ising is glad her roommate dragged her to one of the first JMU Earth meetings her freshman year. Now a junior, Ising was selected by In View Magazine as one of the two winners in the environmental preservation category of their second annual In View Awards for college women. She leaves today for a three-day, all-expense-paid trip to New York. Along with the trip, Ising will receive $2,500 in cash, and will be featured in the May/June issue of In View. There were 10 women selected as winners in five categories. During her stay in New York, Ising will tour In View's operational and editorial offices. She will also have an interview session, a photography session and a luncheon for her feature in the magazine. Ising said she and her friends celebrated Feb. 1 when she found out she had won. "My housemates were excited because the night I found out I took them all out to dinner," she said. "I took about 10 people out to dinner." Ising received the award for her contribution to the preservation of the environment. She has a long list of accomplishments in this area. In accordance with contest guidelines, Ising nominated herself for the award. Ising became involved in EARTH when it first AMY MARTINEZ /THE BREEZE formed during her freshman year. During her second year she played an instrumental part as recycling Junior Beth Ising was selected by In View magazine as one of two winners in the environmental ISING page 2 preservation category for her involvement with JMU Earth and SEAC.