Millennial Television: the Televisual Supernova That Is “Sense8” | The
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Transgender Representation on American Narrative Television from 2004-2014
TRANSJACKING TELEVISION: TRANSGENDER REPRESENTATION ON AMERICAN NARRATIVE TELEVISION FROM 2004-2014 A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY by Kelly K. Ryan May 2021 Examining Committee Members: Jan Fernback, Advisory Chair, Media and Communication Nancy Morris, Media and Communication Fabienne Darling-Wolf, Media and Communication Ron Becker, External Member, Miami University ABSTRACT This study considers the case of representation of transgender people and issues on American fictional television from 2004 to 2014, a period which represents a steady surge in transgender television characters relative to what came before, and prefigures a more recent burgeoning of transgender characters since 2014. The study thus positions the period of analysis as an historical period in the changing representation of transgender characters. A discourse analysis is employed that not only assesses the way that transgender characters have been represented, but contextualizes American fictional television depictions of transgender people within the broader sociopolitical landscape in which those depictions have emerged and which they likely inform. Television representations and the social milieu in which they are situated are considered as parallel, mutually informing discourses, including the ways in which those representations have been engaged discursively through reviews, news coverage and, in some cases, blogs. ii To Desmond, Oonagh and Eamonn For everything. And to my mother, Elaine Keisling, Who would have read the whole thing. iii ACKNOWLEDGMENTS Throughout the research and writing of this dissertation, I have received a great deal of support and assistance, and therefore offer many thanks. To my Dissertation Chair, Jan Fernback, whose feedback on my writing and continued support and encouragement were invaluable to the completion of this project. -
Justine Barkerfull
Justine Barker [email protected] Composer justinebarker.com facebook.com/justinebarkermusic +44 (0) 7876 580742 @justinebarker12 Inventive and collaborative composer creating exciting emotive music for media. Wide ranging projects from primetime terrestrial TV to independent films. Enthusiasm, consistency and can-do attitude have fostered continuing excellent partnerships with directors and producers. Focus to date has been primarily drama, but also experienced in other genres including documentaries and promos. • Series Composer for BBC Casualty, London Kills and Suspects • Dedicated to creating well crafted musical identities for shows and characters within budget and schedule • Multi-instrumentalist with all-round production ability; write, record, produce, arrange, • Well organised, good communicator with excellent understanding of post-production • Music broadcast on BBC1, ITV, Channel 4, Channel 5, plus non terrestrial channels • Winner of Best Composer for Dawn at Underwire Film Festival 2016 • Scored over 40 short films screened at festivals worldwide. CREDITS: CASUALTY – S.35 TV Drama – 27 x 1 hour Producer Loretta Preece December 2020 to date BBC THE UNICORN FILM Director Dylan Harvey Documentary Pilot Producer Liz Roberts May 2020 SB Productions THE DREAMCATCHER Director Piotr Szkopiak Short Drama Producer Caroline Koziol December 2020 Magdalena Kunz EASTENDERS – 6023, 6024 TV Drama – 2 x 25 mins Director Matthew Evans October 2019 Producer Jon Sen BBC CASUALTY – S.34 TV Drama – 46 x 1 hour Producers Loretta Preece, -
Audience Affect, Interactivity, and Genre in the Age of Streaming TV
. Volume 16, Issue 2 November 2019 Navigating the Nebula: Audience affect, interactivity, and genre in the age of streaming TV James M. Elrod, University of Michigan, USA Abstract: Streaming technologies continue to shift audience viewing practices. However, aside from addressing how these developments allow for more complex serialized streaming television, not much work has approached concerns of specific genres that fall under the field of digital streaming. How do emergent and encouraged modes of viewing across various SVOD platforms re-shape how audiences affectively experience and interact with genre and generic texts? What happens to collective audience discourses as the majority of viewers’ situated consumption of new serial content becomes increasingly accelerated, adaptable, and individualized? Given the range and diversity of genres and fandoms, which often intersect and overlap despite their current fragmentation across geographies, platforms, and lines of access, why might it be pertinent to reconfigure genre itself as a site or node of affective experience and interactive, collective production? Finally, as studies of streaming television advance within the industry and academia, how might we ponder on a genre-by- genre basis, fandoms’ potential need for time and space to collectively process and interact affectively with generic serial texts – in other words, to consider genres and generic texts themselves as key mediative sites between the contexts of production and those of fans’ interactivity and communal, affective pleasure? This article draws together threads of commentary from the industry, scholars, and culture writers about SVOD platforms, emergent viewing practices, speculative genres, and fandoms to argue for the centrality of genre in interventions into audience studies. -
Television Academy Awards
2019 Primetime Emmy® Awards Ballot Outstanding Comedy Series A.P. Bio Abby's After Life American Housewife American Vandal Arrested Development Atypical Ballers Barry Better Things The Big Bang Theory The Bisexual Black Monday black-ish Bless This Mess Boomerang Broad City Brockmire Brooklyn Nine-Nine Camping Casual Catastrophe Champaign ILL Cobra Kai The Conners The Cool Kids Corporate Crashing Crazy Ex-Girlfriend Dead To Me Detroiters Easy Fam Fleabag Forever Fresh Off The Boat Friends From College Future Man Get Shorty GLOW The Goldbergs The Good Place Grace And Frankie grown-ish The Guest Book Happy! High Maintenance Huge In France I’m Sorry Insatiable Insecure It's Always Sunny in Philadelphia Jane The Virgin Kidding The Kids Are Alright The Kominsky Method Last Man Standing The Last O.G. Life In Pieces Loudermilk Lunatics Man With A Plan The Marvelous Mrs. Maisel Modern Family Mom Mr Inbetween Murphy Brown The Neighborhood No Activity Now Apocalypse On My Block One Day At A Time The Other Two PEN15 Queen America Ramy The Ranch Rel Russian Doll Sally4Ever Santa Clarita Diet Schitt's Creek Schooled Shameless She's Gotta Have It Shrill Sideswiped Single Parents SMILF Speechless Splitting Up Together Stan Against Evil Superstore Tacoma FD The Tick Trial & Error Turn Up Charlie Unbreakable Kimmy Schmidt Veep Vida Wayne Weird City What We Do in the Shadows Will & Grace You Me Her You're the Worst Young Sheldon Younger End of Category Outstanding Drama Series The Affair All American American Gods American Horror Story: Apocalypse American Soul Arrow Berlin Station Better Call Saul Billions Black Lightning Black Summer The Blacklist Blindspot Blue Bloods Bodyguard The Bold Type Bosch Bull Chambers Charmed The Chi Chicago Fire Chicago Med Chicago P.D. -
Bollywood Produces More Movies in a Year Than Hollywood
a-z CONTENTS a ANALYZE, ANALYZE, ANALYZE by Klara Gavran P6 b BLOCKBUSTER PHENOMENON by Klara Malnar P12 c CINEMAS, ARE THEY DYING? by Klara Malnar P17 d DID YOU KNOW? by Irma Jakić P22 e ENTERTAINMENT MARKETING IN 2019 by Klara Malnar P27 f FAMOUS CELEBRITY ENDORSEMENTS by Irma Jakić P30 g GO BIG OR GO HOME by Irma Jakić P31 h HOLLYWOOD VS BOLLYWOOD by Klara Malnar P35 i I WANT TO THANK THE ACADEMY…AND MY CAMPAIGN STRATEGIST by Klara Malnar P38 j JOYS OF DIGITALIZATION by Klara Gavran P43 k KEEPING UP WITH THE STREAMING SERVICES by Klara Gavran P47 l LEANING INTO SOCIAL LISTENING by Klara Gavran P51 m MUSICIANS TO ACTORS AND VICE VERSA by Irma Jakić P60 n NOT YOUR AVERAGE MARKETING CAMPAIGN by Klara Gavran P62 o OFF-CAMERA: ENTERTAINMENT INDUSTRY BY THE DOLLAR by Irma Jakić P71 p PR NIGHTMARE, BUT LONG OVERDUE by Iva Anušić P75 q QUICK FIX by Iva Anušić P79 r RAZZIES by Irma Jakić P88 s SOCIAL MEDIA’S IMPACT ON THE ENTERTAINMENT INDUSTRY by Klara Malnar P90 t THE COMPETITIVE ANALYSIS: HOW CAN STREAMING SERVICES BENEFIT by Klara Gavran P96 u USER-GENERATED CONTENT by Klara Malnar P99 v VIEWER’S CHOICE by Klara Gavran P103 w WHAT ABOUT FILM FESTIVALS? by Klara Malnar P105 x X FACTOR by Irma Jakić P111 y YHBT (YOU HAVE BEEN TROLLED) CULTURE by Iva Anušić P113 z ZOMBIES by Irma Jakić P116 a ANALYZE, ANALYZE, ANALYZE “Pay attention to what the people and the start a few months, half a year, or even a whole press are talking about. -
Netflix and the Development of the Internet Television Network
Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation. -
Netflix's Sense8 and Accompanying Twitter Communication Transnationale Ident
Transnational Identity in Online Discourse – Netflix’s Sense8 and accompanying Twitter communication Transnationale Identität im Online Diskurs – Netflix’s Sense8 und Anschlusskommunikation auf Twitter by Anna Carolin Antonia Rohmann A thesis presented to the University of Waterloo and the Universitaet Mannheim in fulfilment of the thesis requirement for the degree of Master of Arts in Intercultural German Studies Waterloo, Ontario, Canada / Mannheim, Germany, 2020 © Anna Carolin Antonia Rohmann 2020 Author’s declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, in- cluding any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. Ehrenwörtliche Erklärung Ich versichere, dass ich die Arbeit selbstständig und ohne Benutzung anderer als der angege- benen Hilfsmittel angefertigt habe. Alle Stellen, die wörtlich oder sinngemäß aus Veröffentli- chungen in schriftlicher oder elektronischer Form entnommen sind, habe ich als solche unter Angabe der Quelle kenntlich gemacht. Mir ist bekannt, dass im Falle einer falschen Versiche- rung die Arbeit mit „nicht ausreichend“ bewertet wird. Ich bin ferner damit einverstanden, dass meine Arbeit zum Zwecke eines Plagiatsabgleichs in elektronischer Form versendet und gespeichert werden kann. Mannheim, 10.08.2020 ii Abstract Digital media has become ubiquitous and immensely shapes communitarisation, and thus identity construction. As media does not rely on physical border crossing to bring us in con- tact with different subject positions, traditional forms of mobility are not necessary to include people in transnational discourse and narratives of transnational identification. However, scholarly attention has been focused on discourses of transnational identities tied to tradition- al transgressions of national space. -
Report by Show Title
2017 DGA Episodic Director Diversity Report (by SHOW TITLE) Combined # Episodes # Episodes # Episodes # Episodes Combined TotAl # of FemAle + Directed by Male Directed by Male Directed by FemAle Directed by FemAle Male FemAle Title FemAle + Studio Network Episodes Minority Male CaucasiAn % Male Minority % FemAle CaucasiAn % FemAle Minority % Unknown Unknown Minority % Episodes CaucasiAn Minority CaucasiAn Minority 100, The 12 4 33% 8 67% 2 17% 2 17% 0 0% 0 0 Warner Bros Companies CW 12 Monkeys 8 6 75% 2 25% 5 63% 1 13% 0 0% 0 0 NBC Universal Syfy 13 Reasons Why 13 11 85% 2 15% 7 54% 2 15% 2 15% 0 0 Paramount Pictures Corporation Netflix 24: Legacy 11 2 18% 9 82% 0 0% 2 18% 0 0% 0 0 Twentieth Century Fox FOX A.P.B. 11 4 36% 7 64% 2 18% 1 9% 1 9% 0 0 Twentieth Century Fox FOX Affair, The 10 1 10% 9 90% 0 0% 1 10% 0 0% 0 0 Showtime Pictures Development Showtime Company Altered Carbon 10 3 30% 7 70% 1 10% 2 20% 0 0% 0 0 Skydance Pictures, LLC Netflix American Crime 8 6 75% 2 25% 0 0% 2 25% 4 50% 0 0 Disney/ABC Companies ABC American Gods 9 2 22% 7 78% 1 11% 1 11% 0 0% 0 0 Fremantle Productions, Inc. Starz! American Gothic 13 7 54% 6 46% 3 23% 2 15% 2 15% 0 0 CBS Companies CBS American Horror Story 10 8 80% 2 20% 2 20% 5 50% 1 10% 0 0 Twentieth Century Fox FX American Housewife 22 8 36% 13 59% 2 9% 5 23% 1 5% 1 0 Disney/ABC Companies ABC Americans, The 13 6 46% 7 54% 2 15% 3 23% 1 8% 0 0 Twentieth Century Fox FX Andi Mack 13 3 23% 10 77% 2 15% 0 0% 0 0% 0 1 Disney/ABC Companies Disney Channel Angie Tribeca 10 3 30% 7 70% 1 10% 1 10% 1 10% 0 0 Turner Films, Inc. -
A Study of Transgender Characters in Scripted Programming Then and Now
TRANSNORMATIVE TELEVISION: DOES SOCIAL RESPONSIBILITY BENEFIT THE TV INDUSTRY? A Study of Transgender Characters in Scripted Programming Then and Now David Olsson Department of Radio, Television, Film Honors Thesis May 7th, 2016 Lawrence Herbert School of Communication HOFSTRA UNIVERSITY Faculty Advisor - Nancy F. Kaplan, Ph.D David Olsson | TRANSNORMATIVE TELEVISION: Does Social Responsibility Benefit the TV Industry? Hofstra University Department of Radio, Television, Film Honors Thesis ! TABLE OF CONTENTS INTRODUCTION… p. 2 KEY DEFINITIONS AND ORGANIZATIONS… p. 7 THEORIES AND LITERATURE REVIEW… p. 12 A HISTORY OF SCRIPTED TRANSGENDER APPEARANCES… p. 16 TRANSGENDER AMERICA: FACTS AND STATISTICS… p. 27 SOCIAL ANALYSIS… p. 30 INDUSTRY ANALYSIS… p. 38 CONCLUSIONS… p. 48 REFERENCES… p. 51 !1 David Olsson | TRANSNORMATIVE TELEVISION: Does Social Responsibility Benefit the TV Industry? Hofstra University Department of Radio, Television, Film Honors Thesis ! INTRODUCTION There is an oft-discussed concept in political media that is referred to as the “gay agenda.” It alleges that the cultural normalization of gay and lesbian citizens by LGBT advocates is part of an organized endeavor to indoctrinate youths into a so-called “gay lifestyle.” Phil Burress (2012) of the anti-LGBT group Citizens for Community Values, like other proponents of this belief, supposed that “it’s going to continue to confuse children. This is the way the homosexual activists continue to build their numbers - is to get people confused about their gender identity and start -
Does Netflix Glamorize Tobacco? 79% of Top Streaming Shows Feature Cigarette-Smoking in Hundreds of Scenes, Study Finds
Does Netflix glamorize tobacco? 79% of top streaming shows feature cigarette-smoking in hundreds of scenes, study finds dailymail.co.uk/health/article-5519215/79-streaming-shows-feature-cigarette-smoking.html March 3, 5877521 About 79 percent of shows popular among teens and young adults depict tobacco use, a new study has revealed. Researchers found cigarette use is more prominent in Netflix shows - like Stranger Things, which had 182 scenes featuring characters lighting up - than it is in broadcast and cable television. Health advocates warn the findings are alarming given the scores of studies showing teenagers are much more likely to take up smoking as a 'cool' habit if they see actors smoking on screen. One of the researchers behind the study, by the advocacy group Truth Initiative, went as far as to say TV shows have as much glamorized smoking tobacco ads despite the global push to make young people aware of cigarettes' links to cancer. Winona Ryder who stars Stranger Things frequently smokes cigarettes on the series 1/5 Researchers found Stranger Things had 182 scenes of characters lighting up in one season Robin Koval, CEO and president of Truth Initiative, said shows like Stranger Things, which drew an estimated 15.8 million viewers within three days of its second-season launch, said she was stunned by the amount of smoking in a show in 2018. 'We expected to see quite a bit of smoking, but the magnitude of what we saw was shocking,' Koval said. She and her colleagues used a nationally sourced sample to identify the 14 most popular television shows among people between 15 and 24 years old. -
ORANGE IS the NEW BLACK Season 1 Cast List SERIES
ORANGE IS THE NEW BLACK Season 1 Cast List SERIES REGULARS PIPER – TAYLOR SCHILLING LARRY BLOOM – JASON BIGGS MISS CLAUDETTE PELAGE – MICHELLE HURST GALINA “RED” REZNIKOV – KATE MULGREW ALEX VAUSE – LAURA PREPON SAM HEALY – MICHAEL HARNEY RECURRING CAST NICKY NICHOLS – NATASHA LYONNE (Episodes 1 – 13) PORNSTACHE MENDEZ – PABLO SCHREIBER (Episodes 1 – 13) DAYANARA DIAZ – DASCHA POLANCO (Episodes 1 – 13) JOHN BENNETT – MATT MCGORRY (Episodes 1, 2, 3, 4, 5, 6, 7, 9, 10, 11, 12, 13) LORNA MORELLO – YAEL MORELLO (Episodes 1, 2, 3, 4, 5, 6, 7, 8, 10, 11, 12, 13) BIG BOO – LEA DELARIA (Episodes 1, 2, 3, 4, 5, 6, 7, 9, 10, 11, 12, 13) TASHA “TAYSTEE” JEFFERSON – DANIELLE BROOKS (Episodes 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 12, 13) JOSEPH “JOE” CAPUTO – NICK SANDOW (Episodes 1, 2, 4, 6, 7, 8, 9, 10, 11, 12, 13) YOGA JONES – CONSTANCE SHULMAN (Episodes 1, 2, 4, 5, 6, 7, 9, 10, 11, 12, 13) GLORIA MENDOZA – SELENIS LEYVA (Episodes 1, 2, 4, 5, 6, 7, 8, 9, 11, 12, 13) S. O’NEILL – JOEL MARSH GARLAND (Episodes 1, 2, 3, 4, 5, 6, 7, 9, 10, 12, 13) CRAZY EYES – UZO ADUBA (Episodes 2, 3, 4, 5, 6, 8, 9, 10, 11, 12, 13) POUSSEY – SAMIRA WILEY (Episodes 2, 3, 4, 5, 6, 7, 8, 9, 10, 12, 13) POLLY HARPER – MARIA DIZZIA (Episodes 1, 2, 3, 5, 6, 7, 8, 9, 10, 12) JANAE WATSON – VICKY JEUDY (Episodes 1, 2, 3, 4, 7, 9, 10, 11, 12, 13) WANDA BELL – CATHERINE CURTIN (Episodes 1, 2, 3, 5, 6, 7, 9, 10, 11, 13) LEANNE TAYLOR – EMMA MYLES (Episodes 2, 3, 5, 6, 7, 9, 10, 11, 12, 13) NORMA – ANNIE GOLDEN (Episodes 2, 3, 5, 6, 7, 8, 9, 11, 12, 13) ALEIDA DIAZ – ELIZABETH RODRIGUEZ -
Costume Designer
LINDSAY PUGH - Costume Designer https://cargocollective.com/lindsaypugh SENSE8 (Series 2) Directors: Andy Wachowski and Lana Wachowski. Producers: Marcus Loges, Alex Boden and L. Dean Jones Jr. Starring: Tuppence Middleton, Jamie Clayton, Freema Agyeman and Naveen Andrews. Georgeville Television / Netflix. AND THEN THERE WERE NONE Director: Craig Viveiros. Producer: Abi Bach. Starring: Charles Dance, Toby Stephens, Miranda Richardson and Sam Neill. Mammoth Screen. SENSE8 (Series 1) Directors: Andy Wachowski, Lana Wachowski, James McTeigue, Tom Twyker and Dan Glass. Producers: Marcus Loges, Alex Boden and L. Dean Jones Jr. Starring: Daryl Hannah, Jamie Clayton, Freema Agyeman and Naveen Andrews. Georgeville Television / Netflix. THE SUSPICIONS OF MR WHICHER: “BEYOND THE PALE” / “THE TIES THAT BIND” Directors: Geoff Sax and David Blair. Producer: David Boulter. Starring: Paddy Considine, Helen Bradbury, Alex Robertson, John Heffernan and Adrian Quinton. Hat Trick Productions. SUPERBOB Director: Jon Drever. Producers: Robert Jones and Wayne Marc Godfrey. Starring: Brett Goldstein, Catherine Tate and Laura Haddock. The Fyzz Facility. LUCKY 13 (Musical Circus) Writer/Director: Cal McCrystal. Producer: Nell Gifford. PRESSURE Director: Ron Scalpello. Producer: Jason Newmark. Starring: Matthew Goode, Danny Huston, Joe Cole and Alan McKenna. 4929 Wilshire Blvd., Ste. 259 Los Angeles, CA 90010 ph 323.782.1854 fx 323.345.5690 [email protected] LINDSAY PUGH - Costume Designer Pinewood Films No 8 Ltd. ENDEAVOUR Directors: Ed Bazalgette, Tom Vaughan, Craig Viveiros and Colm McCarthy. Producer: Dan McCulloch. Starring: Shaun Evans, Roger Allam, Patrick Malahide, Flora Montgomery, John Light, Jack Ashton and Daisy Head. Mammoth Screen. DANCING ON THE EDGE Director: Stephen Poliakoff. Producer: Nicky Kentish-Barnes. Starring: John Goodman, Chiwetel Ejiofor, and Matthew Goode.