DOCSLIB.ORG

Television Academy Diversity Directory 2005

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Television Academy Diversity Directory 2005 Diversity Directory.QXD 11/21/05 6:01 PM Page 1 Diversity Directory.QXD 11/21/05 6:01 PM Page 2 WELCOME On behalf of the Committee on Diversity for the Academy of Television Arts & Sciences, I would like to thank the Academy Board of Governors, Chairman Dick Askin, President Todd Leavitt and COO Frank Kohler for their continued support. As the Academy of Television Arts & Sciences is the only major enti- ty in Hollywood that has members in all of the related industry disciplines, the Academy recognizes that it is imperative to continue developing programs that support diverse Academy members in every area of television. In keeping with the Academy’s goal to promote diversity both in front of, and behind, the camera, the Committee on Diversity has successfully presented programs that include each of the 27 peer groups. In Fall 2004, we featured Harvard University’s Dr. Charles Ogletree in a unique forum entitled “Television’s Challenges in Black, White and Multicolor,” where he engaged some of the industry’s top executives in “creating” a fictitious, diverse television network of the future. Most recently, in August 2005, we presented the first Televisionary Salon & Awards, honoring ABC President Stephen McPherson for his outstanding achievement in advancing diversity in fiction programming. Now, the Committee on Diversity is proud to present the Academy’s very first Diversity Resource Directory of Academy members. This directory is just a sample of the Academy’s hundreds of diverse members (based on EEO/diversity* categories ranging from gender to age). This directory not only provides information on how to contact diverse Academy members across all peer groups, it could also be utilized to supple- ment those resources accessed by industry employers seeking prospective job candidates to diversify their applicant base and potentially their workforce. In addition, this directory can be used by members looking to hire (e.g., directors seeking editors) or members looking to be hired (e.g., editors seeking positions with directors). Again, the directory features just some of the many diverse members in the Academy (including some Emmy nominees and winners). Therefore, we consider this a precursor to an upcoming online version that will include additional names across all peer groups. A sincere thank you to key members of the Academy staff, who worked along beside the Committee on Diversity on this directory, especially: Laurel Whitcomb, Adam Philbin and Juan Morales, as well as art director Richard Bleiweiss. I also owe enormous gratitude to the Committee on Diversity members Donna Michelle Anderson, a.k.a DMA, and Joanne Morris for their tireless work on the directory, as well as the Televisionary Salon & Awards. Finally, I would like to thank in advance those who will use this directory for what it is — not only an opportunity to expand your resource base to staff projects and fill positions, but an opportunity for the television industry to reflect America’s ever growing, ever changing melting pot. Sincerely, Marcy DeVeaux Co-Chair, Committee on Diversity / 2003-2005 The Academy of Television Arts & Sciences * (“diversity” includes those categories covered by federal, state, county, local and Academy policies.) 3 Diversity Directory.QXD 11/21/05 6:01 PM Page 4 THE DIVERSITY RESOURCE DIRECTORY GUIDE TO LISTING INFORMATION The goal of this directory is to not only feature a representation of the Television Academy’s diverse TABLE OF CONTENTS membership, but to also provide pertinent professional information on each Academy member listed under their respective peer group. Therefore, in addition to their contact information, each member has up to three key television credits or industry-related job positions noted under their name. Diversity Category Chart 6 Furthermore, to accommodate the number of names in the directory, as well as provide as much infor- MEMBERSHIP PROFILES BY PEER GROUP mation as possible in a limited space on a member’s diversity, abbreviations are being utilized for each Academy member’s listing. The following are the definitions for each abbreviation: Animation 13 Art Directors / Set Decorators 14 KEY CODE “A/P” Asian/Pacific Islander Casting Directors 15 “B/AA” Black/African-American Cinematographers 16 “H/L” Hispanic/Latino Commercials 17 “NA” Native American “OTH” Other ethnicity Costume Design & Supervision 18 “F” Female Daytime Programming 18 “D” Disabled “A+” 40 years old or over Directors 20 “G” Gay/Lesbian Electronic Production 21 COUNTRY CODE Interactive Media 21 (for members originally from other countries) Los Angeles Area 22 “ARG” Argentina “ARU” Aruba Music 22 “BEL” Belgium Non-Fiction Programming 24 “BRA” Brazil “CHN China Performers 27 “ESP” Spain Producers 34 “FIJ” Fiji Islands Production Executives 36 “FRA” France “GER” Germany Professional Representatives 38 “HAI” Haiti Public Relations 39 “JPN” Japan “KOR” Korea Sound 41 “LIB” Lebanon Sound Editors 41 “MEX” Mexico “PAN” Panama Stunts 42 “PHI” The Philippines Title Design & Special Visual Effects 44 “RUS” Russia “UK” United Kingdom TV Executives 44 “VEN” Venezuela TV Motion Picture Editors 48 Writers 50 4 ACADEMY OF TELEVISION ARTS & SCIENCES 5 Diversity Directory.QXD 11/21/05 6:01 PM Page 6 BLACK/AFRICAN AMERICAN ASIAN/PACIFIC ISLANDER HISPANIC/LATINO NATIVE-AMERICAN OTHER ETHNICITY GENDER-FEMALE DISABILITY AGE (40 OR OVER) GAY/LESBIAN NATIONALITY-AFRICA NATIONALITY-ASIA NATIONALITY-AUSTRALIA/PACIFIC ISLANDS NATIONALITY-CARIBBEAN NATIONALITY-EUROPE NATIONALITY-MIDDLE EAST NATIONALITY-CENTRAL AMERICA NATIONALITY-NORTH AMERICA NATIONALITY-SOUTH AMERICA BLACK/AFRICAN AMERICAN ASIAN/PACIFIC ISLANDER HISPANIC/LATINO NATIVE-AMERICAN OTHER ETHNICITY GENDER-FEMALE DISABILITY AGE (40 OR OVER) GAY/LESBIAN NATIONALITY-AFRICA NATIONALITY-ASIA NATIONALITY-AUSTRALIA/PACIFIC ISLANDS NATIONALITY-CARIBBEAN NATIONALITY-EUROPE NATIONALITY-MIDDLE EAST NATIONALITY-CENTRAL AMERICA NATIONALITY-NORTH AMERICA NATIONALITY-SOUTH AMERICA ANIMATION DAYTIME PROGRAMMING Chun, Daniel Farrell, Cheryl Edwards, Sylvia Gonzales, Armando Francis, Jay Haymes, Jeff Hernandez, Joe Read, Lori Vargas, Anthony Strathearn, David ART DIRECTORS / SET DECORATORS DIRECTORS Barbosa, Carlos Chan, Henry Brill, Ellen Garner Jr., Leonard Steffensen, Paul Gaviola, Karen X, Jonathan CASTING DIRECTORS Litwack, Wendy ELECTRONIC PRODUCTION Monroe, Pixie Bonilla, Peter Swann, Monica Faigh, Tom Ortiz, Sal CINEMATOGRAPHERS Calloway, Joseph INTERACTIVE MEDIA Doering-Powell, Mark Handel, Jonathan COMMERCIALS LOS ANGELES AREA Bennett, Michael Brambila, Ruben Craft, Suzette Cable, Carolyn Fraser, Jill Camacho-Burton, Wilma Maddox, Sonya COSTUME DESIGN & SUPERVISION Hawbaker, J.R. Saint Anne, Jacqueline 6 ACADEMY OF TELEVISION ARTS & SCIENCES 7 Diversity Directory.QXD 11/21/05 6:01 PM Page 8 BLACK/AFRICAN AMERICAN ASIAN/PACIFIC ISLANDER HISPANIC/LATINO NATIVE-AMERICAN OTHER ETHNICITY GENDER-FEMALE DISABILITY AGE (40 OR OVER) GAY/LESBIAN NATIONALITY-AFRICA NATIONALITY-ASIA NATIONALITY-AUSTRALIA/PACIFIC ISLANDS NATIONALITY-CARIBBEAN NATIONALITY-EUROPE NATIONALITY-MIDDLE EAST NATIONALITY-CENTRAL AMERICA NATIONALITY-NORTH AMERICA BLACK/AFRICAN AMERICAN ASIAN/PACIFIC ISLANDER HISPANIC/LATINO NATIVE-AMERICAN OTHER ETHNICITY GENDER-FEMALE DISABILITY AGE (40 OR OVER) GAY/LESBIAN NATIONALITY-AFRICA NATIONALITY-ASIA NATIONALITY-AUSTRALIA/PACIFIC ISLANDS NATIONALITY-CARIBBEAN NATIONALITY-EUROPE NATIONALITY-MIDDLE EAST NATIONALITY-CENTRAL AMERICA NATIONALITY-NORTH AMERICA NATIONALITY-SOUTH AMERICA NATIONALITY-SOUTH AMERICA MUSIC Graves, Daniel Haskell, Jimmie Hair, William Smith, Stanley Hauser, Fay Taylor, Stephen Hi, Mae Walden, W.G. “Snuffy” Holland, Gladys Johnson, Greg Allen NON-FICTION PROGRAMMING Keymah, T’keyah Crystal Anderson, Donna “DMA” Kwong, Peter Bourne, St.Clair Lew, Joycelyne Budin-Juteau, Claude Long, Jodi Christy, Kathryn Martinez, Alma Doganieri, Elise Morgan, Michele Dowdey, Kathleen Ontiveros, Lupe Gervino, Lucia Rivers, Leslie Mimura, Meg Tank, Mikhail Neal, Shirley Troesh, Jim Telles, Rick Yi, Tom Wilmowski, Wendy Zamora, Del Wilson, Eric PRODUCERS PERFORMERS Dietrich, E. Carey Applegate, Eddie Hamilton, Jody Avila, Christine Kassel, Virginia Bassin, Roberta O’Neal, Cleveland Bliss, Lucille Ruiz, Antonio Davis, Annette Sprow, Nancy Del Mar, Marcia Thoeren, Konstantin Dennis, Peter Tushinsky, Kim Gallo, Robert Grabowski, Dawn 8 ACADEMY OF TELEVISION ARTS & SCIENCES 9 Diversity Directory.QXD 11/21/05 6:01 PM Page 10 BLACK/AFRICAN AMERICAN ASIAN/PACIFIC ISLANDER HISPANIC/LATINO NATIVE-AMERICAN OTHER ETHNICITY GENDER-FEMALE DISABILITY AGE (40 OR OVER) GAY/LESBIAN NATIONALITY-AFRICA NATIONALITY-ASIA NATIONALITY-AUSTRALIA/PACIFIC ISLANDS NATIONALITY-CARIBBEAN NATIONALITY-EUROPE NATIONALITY-MIDDLE EAST NATIONALITY-CENTRAL AMERICA NATIONALITY-NORTH AMERICA NATIONALITY-SOUTH AMERICA BLACK/AFRICAN AMERICAN ASIAN/PACIFIC ISLANDER HISPANIC/LATINO NATIVE-AMERICAN OTHER ETHNICITY GENDER-FEMALE DISABILITY AGE (40 OR OVER) GAY/LESBIAN NATIONALITY-AFRICA NATIONALITY-ASIA NATIONALITY-AUSTRALIA/PACIFIC ISLANDS NATIONALITY-CARIBBEAN NATIONALITY-EUROPE NATIONALITY-MIDDLE EAST NATIONALITY-CENTRAL AMERICA NATIONALITY-NORTH AMERICA NATIONALITY-SOUTH AMERICA PRODUCTION EXECUTIVES SOUND EDITORS Barnwell, Andre Griffith, Patrick Domina, Mario McCurdy, Richard Estrada, Frank Orsi, Thomas Morgan, Ms. Simon, David STUNTS Slavkin, Debbie Cossette, Kimberly Devoreaux, Kelsee PROFESSIONAL REPRESENTATIVES Goto, Al Adams, Russell Hatem, Ace Bensky, Lynda Ho, Steven Pomerantz, Irwin Vu, William TITLE DESIGN & SPECIAL VISUAL
Load more

Recommended publications
  • Finding Aid to the Historymakers ® Video Oral History with Douglas Holloway
    Finding Aid to The HistoryMakers ® Video Oral History with Douglas Holloway Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: Holloway, Douglas V., 1954- Title: The HistoryMakers® Video Oral History Interview with Douglas Holloway, Dates: December 13, 2013 Bulk Dates: 2013 Physical 9 uncompressed MOV digital video files (4:10:46). Description: Abstract: Television executive Douglas Holloway (1954 - ) is the president of Ion Media Networks, Inc. and was an early pioneer of cable television. Holloway was interviewed by The HistoryMakers® on December 13, 2013, in New York, New York. This collection is comprised of the original video footage of the interview. Identification: A2013_322 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Television executive Douglas V. Holloway was born in 1954 in Pittsburgh, Pennsylvania. He grew up in the inner-city Pittsburgh neighborhood of Homewood. In 1964, Holloway was part of the early busing of black youth into white neighborhoods to integrate Pittsburgh schools. In 1972, he entered Northeastern University in Boston, Massachusetts as a journalism major. Then, in 1974, Holloway transferred to Emerson College, and graduated from there in 1975 with his B.S. degree in mass communications and television production. In 1978, he received his M.B.A. from Columbia University with an emphasis in marketing and finance. Holloway was first hired in a marketing position with General Foods (later Kraft Foods). He soon moved into the television and communications world, and joined the financial strategic planning team at CBS in 1980.
    [Show full text]
  • L'équipe Des Scénaristes De Lost Comme Un Auteur Pluriel Ou Quelques Propositions Méthodologiques Pour Analyser L'auctorialité Des Séries Télévisées
    Lost in serial television authorship : l’équipe des scénaristes de Lost comme un auteur pluriel ou quelques propositions méthodologiques pour analyser l’auctorialité des séries télévisées Quentin Fischer To cite this version: Quentin Fischer. Lost in serial television authorship : l’équipe des scénaristes de Lost comme un auteur pluriel ou quelques propositions méthodologiques pour analyser l’auctorialité des séries télévisées. Sciences de l’Homme et Société. 2017. dumas-02368575 HAL Id: dumas-02368575 https://dumas.ccsd.cnrs.fr/dumas-02368575 Submitted on 18 Nov 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Distributed under a Creative Commons Attribution - NonCommercial - NoDerivatives| 4.0 International License UNIVERSITÉ RENNES 2 Master Recherche ELECTRA – CELLAM Lost in serial television authorship : L'équipe des scénaristes de Lost comme un auteur pluriel ou quelques propositions méthodologiques pour analyser l'auctorialité des séries télévisées Mémoire de Recherche Discipline : Littératures comparées Présenté et soutenu par Quentin FISCHER en septembre 2017 Directeurs de recherche : Jean Cléder et Charline Pluvinet 1 « Créer une série, c'est d'abord imaginer son histoire, se réunir avec des auteurs, la coucher sur le papier. Puis accepter de lâcher prise, de la laisser vivre une deuxième vie.
    [Show full text]
  • '!Flewiwjk HAR 1 4 Lofl in the Matter of ) Comcast Cable Communications, LLC, ) on Behalf of Its Subsidiaries and Affiliates ) ) Csrno
    STAMP & RETURN Before the FEDERAL COMMUNICATIONS COMMISSION Washington, D.C. 20554 '!FleWIWJK HAR 1 4 lOfl In the Matter of ) Comcast Cable Communications, LLC, ) on behalf of its subsidiaries and affiliates ) ) CSRNo. ____ For Determination of Effective Competition in: ) 15 Pennsylvania-Area Franchise Areas ) To: Chief, Media Bureau PETITION FOR SPECIAL RELIEF Comcast Cable Communications, LLC, on behalf of its subsidiaries and affiliates ("Comcast"), pursuant to Sections 76.7 and 76.907 of the Commission's ~Ies/ requests that the Commission find that it faces "effective competition" in 15 Pennsylvania franchise areas (the "Franchise Areas")? The Communications Act of 1934, as amended (the "Act"), and the Commission's rules provide that cable television rates may be regulated only in the absence of effective competition.3 Cable operators are entitled to demonstrate that effective competition exists on a franchise-by- franchise basis.4 When a cable operator demonstrates that effective competition exists within a franchise area, cable rates in the affected area are no longer subject to regulation.s 147 C.F.R. §§ 76.7 and 76.907. 2 See Exhibit 1. 347 U.S.C. § 543(a)(2); 47 C.F.R. § 76.905(a). 447 C.F.R. § 76.907. S See Implementation ofSections (Jf the Cable Television Consumer Protection and Competition Act of 1992, Rate Regulation, 8 FCC Red. 5631, 5664-5665 (1993) ("Rate Order"). DWT 19129514vl 0107080-000008 Under the "competing provider" test set forth in Section 623(1)(1)(B) of the Act and Section 76.905(b)(2) ofthe Commission's rules (the "Competing Provider Test"), a cable system will be deemed subject to effective competition if: (i) the franchise area is served by at least two unaffiliated multichannel video programming distributors ("MVPDs"), each of which offers comparable programming to at least 50 percent of the households in the franchise area; and (ii) the number of households subscribing to multichannel video programming other than the largest MVPD exceeds 15 percent of the households in the franchise area.
    [Show full text]
  • By Jennifer M. Fogel a Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy
    A MODERN FAMILY: THE PERFORMANCE OF “FAMILY” AND FAMILIALISM IN CONTEMPORARY TELEVISION SERIES by Jennifer M. Fogel A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Communication) in The University of Michigan 2012 Doctoral Committee: Associate Professor Amanda D. Lotz, Chair Professor Susan J. Douglas Professor Regina Morantz-Sanchez Associate Professor Bambi L. Haggins, Arizona State University © Jennifer M. Fogel 2012 ACKNOWLEDGEMENTS I owe my deepest gratitude to the members of my dissertation committee – Dr. Susan J. Douglas, Dr. Bambi L. Haggins, and Dr. Regina Morantz-Sanchez, who each contributed their time, expertise, encouragement, and comments throughout this entire process. These women who have mentored and guided me for a number of years have my utmost respect for the work they continue to contribute to our field. I owe my deepest gratitude to my advisor Dr. Amanda D. Lotz, who patiently refused to accept anything but my best work, motivated me to be a better teacher and academic, praised my successes, and will forever remain a friend and mentor. Without her constructive criticism, brainstorming sessions, and matching appreciation for good television, I would have been lost to the wolves of academia. One does not make a journey like this alone, and it would be remiss of me not to express my humble thanks to my parents and sister, without whom seven long and lonely years would not have passed by so quickly. They were both my inspiration and staunchest supporters. Without their tireless encouragement, laughter, and nurturing this dissertation would not have been possible.
    [Show full text]
  • Family Law Section Commentator
    The Florida Bar FAMILY LAW SECTION COMMENTATOR Spring 2019 Anya Cintron Stern, Esq. – Co-Editor Volume 1, No. 2 Anastasia Garcia, Esq. – Co-Editor The Commentator is prepared and published by the Family Law Section of The Florida Bar ABIGAIL BEEBE, WEST PALM BEACH – Chair AMY C. HAMLIN, ALTAMONTE SPRINGS – Chair-Elect DOUGLAS A. GREENBAUM, FORT LAUDERDALE – Treasurer HEATHER L. APICELLA, BOCA RATON – Secretary NICOLE L. GOETZ – Immediate Past Chair LAURA DAVIS SMITH, CORAL GABLES and SONJA JEAN, CORAL GABLES – Publications Committee Co-Chairs WILLE MAE SHEPHERD, TALLAHASSEE — Administrator DONNA RICHARDSON, TALLAHASSEE — Design & Layout Statements of opinion or comments appearing herein are those of the authors and contributors and not of The Florida Bar or the Family Law Section. Articles and cover photos to be considered for publication may be submitted to Anya Cintron Stern, Esq. ([email protected]), or Anastasia Garcia, Esq. ([email protected]), Co-Chairs of the Commentator. MS Word format is preferred for documents, and jpeg images for photos. ON THE COVER: Photograph courtesy Heather Apicella INSIDE THIS ISSUE 3 Message from the Chair 17 Addicition and Its Impact on Our Cases and Our Profession: First Article of Three 6 Comments from the Co-Chairs of the Publications Committee 21 Navigating Turbulent Waters: Dealing with Domestic Violence in a Divorce 7 Message from the Co-Chairs of the Commentator 26 Family Law Section In-State Retreat (Photos) 7 Section Calendar 31 Crafting Developmentally Appropriate Parenting Plans for Infants and Toddlers 8 Guest Editor's Corner 36 Psychosexual Evaluations in Family Law 11 Stress in Family Law Practice-Is There A Better Way For Families and 47 Shifting Gears: Making The Most of Life’s Practitioners Not-So-Little Changes Family Law Commentator 2 Spring 2019 Message from the Chair Abigail M.
    [Show full text]
  • Esf-15 Public Information & Warning
    ESF-15 PUBLIC INFORMATION & WARNING CONTENTS PAGE I. PURPOSE ESF 15.2 II. SITUATIONS AND ASSUMPTIONS ESF 15.2 A. Situations ESF 15.2 B. Assumptions ESF 15.3 III. WARNING SYSTEMS ESF 15.3 A. General ESF 15.3 B. Primary Warning System ESF 15.4 C. Alternate (redundant) Warning System ESF 15.7 D. Additional Tools for Warning ESF 15.10 E. Vulnerable Populations ESF 15.10 IV. PUBLIC INFORMATION SYSTEM ESF 15.10 A. General ESF 15.10 B. Joint Information System (JIS) ESF 15.11 C. Public Information Coordination Center (PICC) ESF 15.11 D. Interpreters / Functional Needs / Vulnerable Populations ESF 15.12 V. CONCEPT OF OPERATIONS ESF 15.12 A. Operational Time Frames ESF 15.12 VI. ORGANIZATION AND ASSIGNMENT RESPONSIBILITIES ESF 15.14 A. Primary Agencies ESF 15.14 B. Support Agencies ESF 15.15 C. State Support Agency ESF 15.15 D. Federal Support Agency ESF 15.15 VII. DIRECTION AND CONTROL ESF 15.15 VIII. CONTINUITY OF OPERATIONS ESF 15.15 A. General ESF 15.15 B. Alternate site for EOC ESF 15.16 IX. ADMINISTRATION AND LOGISTICS ESF 15.16 X. ESF DEVELOPMENT AND MAINTENANCE ESF 15.16 XI. REFERENCES ESF 15.16 APPENDICES 1. Activation List ESF 15.18 2. Organizational Chart ESF 15.19 3. Media Points of Contact ESF 15.20 4. Format and Procedures for News Releases ESF 15.24 5. Initial Media Advisory on Emergency ESF 15.25 6. Community Bulletin Board Contacts ESF 15.26 7. Interpreters Contact List ESF 15.27 8. Public Information Call Center (PICC) Plan ESF 15.28 9.
    [Show full text]
  • Fall Colors, 2001-02: Prime Time Diversity Report. INSTITUTION Children Now, Oakland, CA
    DOCUMENT RESUME ED 464 750 PS 030 374 AUTHOR Parker, McCrae A.; Miller, Patti; Espejo, Eileen; Grossman-Swenson, Sarah TITLE Fall Colors, 2001-02: Prime Time Diversity Report. INSTITUTION Children Now, Oakland, CA. SPONS AGENCY Mott (C.S.) Foundation, Flint, MI. PUB DATE 2002-04-00 NOTE 49p.; For Fall Colors II, see ED 444 707. Also supported by The Atlantic Philanthropies. AVAILABLE FROM Children Now, 1212 Broadway, 5th Floor, Oakland, CA 94612. Tel: 510-763-2444; Fax: 510-763-1974; e-mail: [email protected]. For full text: http://www.childrennow.org/media/fc2002/fc-2002-report.pdf. PUB TYPE Information Analyses (070) EDRS PRICE MF01/PCO2 Plus Postage. DESCRIPTORS Comparative Analysis; Content Analysis; *Cultural Pluralism; *Diversity (Institutional); Ethnicity; Mass Media Effects; *Programming (Broadcast); Racial Distribution; Television Research IDENTIFIERS Diversity (Groups) ABSTRACT Television is an integral part of American culture, and has the ability to play a major role in shaping belief systems, particularly for the youngest and most impressionable viewers. This study is the third annual study of diversity of characters in prime time television programming. The study examined the first two episodes of each prime time entertainment series airing on the six broadcast networks. The findings indicate that despite ongoing emphasis, encouragement, and pressure on the part of media advocates, civil rights groups, government officials, and even some entertainment industry leaders, the networks have yet to produce a prime time
    [Show full text]
  • NEW GRID MENTORS ASSUME DUTIES Dr
    ■ WELCOME TO QUINT LEAVES DAVIDSON FOR STATE COACHES Tin© Davidsomiain TRIP "ALENDA LUX UBI ORTA LIBERTAS" Vol. XIX DAVIDSON COLLEGE, DAVIDSON, N. C, FEBRUARY 10, 1932 No. 17 NEW GRID MENTORS ASSUME DUTIES Dr. C. Darby Fulton Will NEWTON AND McEVER Result of Questionnaire Conduct Mission School ARENAMED COACHES Proves Non-Militaristic Here on February 17-18 of Body Newton Succeeds Coach "Monk" Views Student Prominent Mission Leader to Tell Younger as Head Coach of Students Do Not Sanction Interven- Students of Great Needs in Athletics at Davidson tion of United States Into Sino- ForeignField Japanese Controversy BOTH FROM TENNESSEE HEAD OF MISSION BOARD FAVORABLE TO LEAGUE McEver, for Two Years Ail-American, Coming to Davidson Under Auspices Will Coach Backfield Answers Show That R. O. T. C. Does of Foreign Mission Committee Not Make a Man War-Minded William (Diic) Newton, member of the ()n Tuesday and Wednesday, February 16 ] University of Tennessee athletic staff last fall, As a result" of tile interest in tile Sino-Iap- Eugene McEver, and 1", Dr. C. Darby Fulton, of the Foreign and all American halfback at ancse controversy shown bj the students of Da- same institution, Mission Hoard of the Southern Presbyterian the have since Monday been vidson College, this paper arranged a question- ' directing the spring practice Church, will conduct at Davidson a two-day of the Davidson naire, which was answered l>> the students of Wildcats. mission study institute. the college at the chapel assembly last Thurs- Newton and Monk The main purpose of this study is to present " - McEver succeeded i day morning, The results have been tabulated Younger Tilson, to the student body of this college certain in- .**.T..'s and Tex who next fall go to and in the majority of the cases the expected &.
    [Show full text]
  • Should We Use Popular Brands to Promote Healthy Eating Among Children?
    Public Health Nutrition: 13(12), 2064–2067 doi:10.1017/S1368980010000893 Should we use popular brands to promote healthy eating among children? Ingibjorg Gunnarsdottir1,2,* and Inga Thorsdottir1,2 1Unit for Nutrition Research, University of Iceland and Landspitali University Hospital, Eiriksgata 29, 101 Reykjavik, Iceland: 2Faculty of Food Science and Nutrition, School of Health Sciences, University of Iceland, Vatnsmyrarvegur 16, 101 Reykjavik, Iceland Submitted 19 August 2009: Accepted 16 March 2010: First published online 4 May 2010 Abstract Objective: Studies indicate that food and beverages typically marketed to children are products high in fat, sugar and salt. LazyTown is an entertainment brand with a focus on healthy lifestyle, aimed at making health education entertaining. The aim of the present study was to assess whether children perceive food to taste better with a LazyTown label on the wrapping compared with the original packaging. Design: Five pairs of identical food and beverage samples were introduced. We aimed to select healthy food and beverages from various food groups. Preference for the LazyTown food was coded as 11, no preference 0 and preference for the original food as 21. An average ‘preference score’ was calculated for each subject by adding up the answers. Setting: Three pre-schools in the Greater Reykjavik area, Iceland. Subjects: Subjects were pre-school children aged 3?5 to 6 years (n 66). Results: Most children answered correctly that there was no difference in the taste between the two identical food samples. However, between 27 and 42 % (depending on the product) of children preferred the taste of LazyTown food and beverages despite the fact that the test food was identical.
    [Show full text]
  • Pritchett K.D
    Pritchett k.d. lang Volume 4, Number 1, January 5, 1994 FREE PHOTO: JEFF HELBERG Why the -.;:. legislator as the "yuppie ninjas" - have passed Chozen-ji Zen through the dojo's gates temple and martial to "talk story" with artsdojo in upper Tanouye, including the governor, a number of Kalihi Valley just legislators, at least one might be one of the Bishop Estate trustee, developer Herbert most important Horita, big-gun lawyer places you've never Wally Fujiyama, banking CEO Uonel Tokioka and a heard of couple of men known widely as behind-the­ scenes "arrangers." A couple of notorious underworld figures have also been known to go to Chozen-ji, and even the FBl's curiosity has appar­ ently been stirred by rumors of the dojo's powerconnections. From one perspective, it looks like a conspiracy theorist's dream. But f there's one thing this press. Chozen-ji is a Zen talk to a dojo follower town has a reputation Buddhist temple and and you'll get quite a dif.. Iforbesides mai tais somewhat exclusive cen­ ferent picture, one of an and hula girls, it's secre­ ter for the martial, fine angel network of tive power cliques that and healing arts headed dedicated people, as cut back-room deals far by locally born archbishop well intentioned as they from the public eye. The Tanouye Tenshin Roshi are connected, nurturing kinds of "hot spots" (roshiisan hope with the Story by where the influential con­ honorific title DEREK FERRAR guidance of gregate are many: the used for Tanouye. From golflinks, the Pacific heads of Zen temples), this perspective, the Club, reunions of the who teaches the samurai activities of the roshi 442nd Regiment, Vegas.
    [Show full text]
  • PERFECTION, WRETCHED, NORMAL, and NOWHERE: a REGIONAL GEOGRAPHY of AMERICAN TELEVISION SETTINGS by G. Scott Campbell Submitted T
    PERFECTION, WRETCHED, NORMAL, AND NOWHERE: A REGIONAL GEOGRAPHY OF AMERICAN TELEVISION SETTINGS BY G. Scott Campbell Submitted to the graduate degree program in Geography and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ______________________________ Chairperson Committee members* _____________________________* _____________________________* _____________________________* _____________________________* Date defended ___________________ The Dissertation Committee for G. Scott Campbell certifies that this is the approved version of the following dissertation: PERFECTION, WRETCHED, NORMAL, AND NOWHERE: A REGIONAL GEOGRAPHY OF AMERICAN TELEVISION SETTINGS Committee: Chairperson* Date approved: ii ABSTRACT Drawing inspiration from numerous place image studies in geography and other social sciences, this dissertation examines the senses of place and regional identity shaped by more than seven hundred American television series that aired from 1947 to 2007. Each state‘s relative share of these programs is described. The geographic themes, patterns, and images from these programs are analyzed, with an emphasis on identity in five American regions: the Mid-Atlantic, New England, the Midwest, the South, and the West. The dissertation concludes with a comparison of television‘s senses of place to those described in previous studies of regional identity. iii For Sue iv CONTENTS List of Tables vi Acknowledgments vii 1. Introduction 1 2. The Mid-Atlantic 28 3. New England 137 4. The Midwest, Part 1: The Great Lakes States 226 5. The Midwest, Part 2: The Trans-Mississippi Midwest 378 6. The South 450 7. The West 527 8. Conclusion 629 Bibliography 664 v LIST OF TABLES 1. Television and Population Shares 25 2.
    [Show full text]
  • Limitations on Copyright Protection for Format Ideas in Reality Television Programming
    For exclusive use of MLRC members and other parties specifically authorized by MLRC. © Media Law Resource Center, Inc. LIMITATIONS ON COPYRIGHT PROTECTION FOR FORMAT IDEAS IN REALITY TELEVISION PROGRAMMING By Kent R. Raygor and Edwin Komen* * Kent R. Raygor and Edwin Komen are partners in the Entertainment, Media, and Technology Group in the Century City, California and Washington, D.C. offices, respectively, of Sheppard Mullin Richter & Hampton LLP. The authors thank Ben Aigboboh, an associate in the Century City office, for his assistance with this article. 97 For exclusive use of MLRC members and other parties specifically authorized by MLRC. © Media Law Resource Center, Inc. LIMITATIONS ON COPYRIGHT PROTECTION FOR FORMAT IDEAS IN REALITY TELEVISION PROGRAMMING I. INTRODUCTION Television networks constantly compete to find and produce the next big hit. The shifting economic landscape forged by increasing competition between and among ever-proliferating media platforms, however, places extreme pressure on network profit margins. Fully scripted hour-long dramas and half-hour comedies have become increasingly costly, while delivering diminishing ratings in the key demographics most valued by advertisers. It therefore is not surprising that the reality television genre has become a staple of network schedules. New reality shows are churned out each season.1 The main appeal, of course, is that they are cheap to make and addictive to watch. Networks are able to take ordinary people and create a show without having to pay “A-list” actor salaries and hire teams of writers.2 Many of the most popular programs are unscripted, meaning lower cost for higher ratings. Even where the ratings are flat, such shows are capable of generating higher profit margins through advertising directed to large groups of more readily targeted viewers.
    [Show full text]